Vox is a modular brass chair designed by architect Massimiliano Malagò that examines the structural challenges of collective decision-making through the lens of mathematics. Drawing on the work of economist Kenneth Arrow and 18th-century mathematician Nicolas de Condorcet, the project materializes logical paradoxes that arise in ranked-choice voting (RCV) systems. Using New York City’s recently adopted RCV system as a case study, the design explores how electoral mechanisms intended to ensure fairness can instead produce paradoxes, dissatisfaction, and instability.

The project focuses on the act of voting as both a civic ritual and a site of systemic tension. Vox addresses structural concerns within voting systems, rather than issues such as low turnout or fraud, highlighting how different electoral methods can yield conflicting results. In November 2019, New York City voters approved a charter amendment implementing RCV for mayoral primaries and other municipal elections. While RCV was intended to address limitations of the previous first-past-the-post system, including runoff costs and low voter engagement, it also introduces potential structural contradictions, which Vox seeks to examine in material form.

all images by Helene Helleu, Cristina Colussi

letter-patterned brass panels assemble Vox sculptural object

Designer Massimiliano Malagò’s Vox is constructed from 75 waterjet-cut brass panels connected by 100 custom 3D printed interlocking joints, forming a lattice that functions as both structure and ornament. Each panel’s fold extends into a flange with an X-shaped cut, receiving a two-part joint that locks the elements together. The panels represent individual votes, with letters A, B, C, D, and E applied in vinyl to denote candidate rankings.

Three hypothetical electoral scenarios are embedded within the object, each illustrating a structural limitation of the voting system. One scenario demonstrates a violation of monotonicity, in which ranking a candidate higher can paradoxically cause that candidate to lose. Another highlights the violation of the independence of irrelevant alternatives, showing how the addition or removal of a losing candidate can alter the election outcome. The third scenario references the Condorcet paradox, where collective preferences form a circular loop that prevents the emergence of a clear winner.

Vox is a modular brass chair designed by architect Massimiliano Malagò

Vox turns abstract political concepts into spatial experience

By translating abstract mathematical reasoning and electoral theory into a three-dimensional object, Vox exposes the inherent instability of democratic systems. The brass lattice functions as both a symbolic seat of power and a physical representation of the complexities of collective choice. Each panel and connection visualizes the interplay of individual votes and systemic rules, revealing that instability is not an error but an intrinsic feature of democratic processes.

Through this material exploration, Vox demonstrates how design can transform abstract political and mathematical concepts into a tangible, spatial experience, highlighting the structural limitations and paradoxes embedded within contemporary electoral systems.

the project examines collective decision-making through mathematical principles

the design translates voting paradoxes into a physical object

New York City’s ranked-choice voting system serves as the project’s case study

the chair addresses contradictions inherent in ranked-choice voting

Vox presents democratic instability as an inherent structural condition

the structure forms a lattice that is both ornamental and load-bearing

project info:

name: Vox New Yorkea

designer: Massimiliano Malagò | @massimilianomariamalago

photographers: Helene Helleu | @helenehelleu, Cristina Colussi

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

edited by: christina vergopoulou | designboom

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Exploring the afterlives of everyday objects, Dublin-based designer Cara Campos presents Objects from Frames (OFF), a collection of furniture pieces crafted from reused bicycles.

Campos trained in industrial design after initially studying fashion, a shift that reflected a growing interest in structure, load, and how materials behave under repeated use. After graduating in 2025, she now works mainly with discarded components rather than raw materials, favoring objects that have reached the end of their intended lifespan but retain structural integrity.

With this collection — including a chair, table, and lamp — frames, joints, and points of stress are treated as given conditions, and surface wear and signs of handling are left intact.

Object from Frames (OFF) collection, images courtesy Cara Campos

cara campos Adapts End-of-Life Bicycle Frames

The focus on reuse is central to Cara Campos’ Objects from Frames (OFF), a collection developed from discarded bicycle frames sourced in heavily used or end-of-life condition. Bicycles attracted the designer because of their precise engineering and their tendency to be abandoned once they fall out of service. ‘OFF asks the bicycle to perform a new function in the domestic environment,’ Campos tells designboom. The project began as a university study and was refined through hands-on testing.

The OFF pieces are produced by cutting, repositioning, and stabilizing existing frames, with minimal new material introduced. Original tube diameters, curves, and junctions are preserved. Welds remain visible, and former attachment points for wheels or chains are either exposed or adapted into new connections. Each piece is shaped by the geometry of the frames from which they originate.

the Dublin-based industrial designer works mainly with abandoned objects and materials

Wear and Prior Use is expressed

Cara Campos avoids disguising the source material with her OFF furniture collection. The bicycles’ scratches, chipped paint, and irregular finishes remain present. ‘The intent is not to up-cycle, but to pay homage,’ she notes. The bicycle is allowed to stay legible, both structurally and visually, carrying its prior use directly into the finished objects.

Even in their new domestic setting, the pieces retain the weight, scale, and material density of their origins. Tubular steel defines edges and supports without cladding or concealment, and the construction remains easy to read. The objects sit with a straightforward physical presence, marked by exposed structure and surfaces shaped by use.

a chair, table, and lamp are made from discarded bicycle frames

original frame geometry and tube dimensions are preserved

the project was developed through hands-on testing

surface wear and former attachment points remain visible

the objects retain the weight and scale of their original use

project info:

name: Objects from Frames (OFF)

designer: Cara Campos | @cara_____________

The post designer cara campos recycles worn bicycle frames to craft minimalist furniture appeared first on designboom | architecture & design magazine.

The Living Series by Vincent Decat explores the intersection of functional design and forms that reference biological growth and movement. Across the collection, objects are conceived with morphologies that suggest organic behavior, positioning furniture and domestic elements as evolving presences rather than static utilities. Through this approach, the series examines durability not only through construction and materiality, but through long-term engagement fostered by form, tactility, and visual character.

The works draw from observations of living organisms, growth patterns, and slow transformation. Rather than literal representations, the pieces, a chair, a table, and a tray, abstract biological processes into sculptural furniture and objects that occupy a space between utility and narrative form. Each piece is handcrafted or carefully fabricated, emphasizing material experimentation and surface treatment.

One Thing Led To Another | all images courtesy of Vincent Decat

Living series: One Thing Led To Another, Came Uninvited, Stage One

One Thing Led To Another is a sculptural chair developed by Paris-based craft designer Vincent Decat through an exploration of the relationship between inert matter and organic expansion. Its form recalls a mineral landscape with irregular, rock-like contours in muted grey tones, interrupted by vivid orange elements that appear to spread across the surface. These contrasting components suggest a gradual process of colonization, referencing natural cycles of regeneration and coexistence between organic and inorganic systems. The chair’s asymmetrical and deliberately unstable geometry challenges conventional expectations of seating, positioning the object equally as furniture and sculptural artifact. The piece is constructed from a wood and metal framework reinforced with resin, then hand-finished with acrylic paint and sealed with a protective varnish.

Came Uninvited is a sculptural side table inspired by altered biological structures. Its form and coloration suggest a transformed organism, recognizable yet changed, evoking the idea of mutation and environmental influence. The object reflects on human impact on natural systems through abstraction rather than direct symbolism. The table was produced using 3D printing techniques, reinforced for structural durability, and finished by hand with acrylic paint and a protective varnish.

Stage One is a tray conceived as an object shaped by processes of emergence and development. Referencing embryonic forms, the piece adopts a compact, evolving geometry that suggests growth over time. Fabricated through 3D printing, it is available in two hand-finished variations: one with acrylic paint and another with aluminum leaf, each emphasizing different material and reflective qualities.

the Living Series explores functional objects shaped by references to biological growth and movement

the sculptural chair recalls a mineral landscape with irregular, rock-like contours

vivid orange elements appear to spread across the muted grey surface of the chair

wood, metal, and resin form the structural framework of One Thing Led To Another

Came Uninvited

the side table’s form suggests a recognizable organism transformed by environmental influence

the table was produced using 3D printing and reinforced for durability

bright purple hues spread across Came Uninvited table’s surfaces

the organic forms are finished by hand with acrylic paint and a protective varnish

Stage One

embryonic forms inform the compact and evolving geometry of the tray

the piece is available in hand-finished acrylic paint or aluminum leaf versions

fabricated through 3D printing, Stage One tray is shaped by processes of emergence and development

light blue and lilac acrylic paint brush over the organic tray

project info:

name: Living Series

designer: Vincent Decat | @_vinsdecat

One Thing Led To Another materials: Wood, Steel, Resin, Acrylic Paint, Varnish

One Thing Led To Another dimensions: 70 x 60 x 80 cm

Came Uninvited materials: PLA, Resin, Acrylic Paint, Varnish

Came Uninvited dimensions: 46 x 50 x 60 cm

Stage One materials: PLA, Aluminium – PLA, Acrylic Paint

Stage One dimensions: 19 x 17 x 8 cm

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

edited by: christina vergopoulou | designboom

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Chair for Kids is a participatory design project developed by designer Taekhan Yun in collaboration with students from an English school in Siem Reap, Cambodia. The project focuses on translating children’s ideas and drawings into functional seating, while introducing fundamental principles of design and making.

The process began with the children drawing stools and chairs, using these sketches as an initial exploration of form and function. They then measured their height and body dimensions, incorporating basic ergonomic considerations into the designs. This step informed the scale and proportions of each chair while encouraging an understanding of physical dimensions and spatial relationships.

Chair for Kids is a participatory design project developed by Taekhan Yun | all images by Taekhan Yun

The making process introduces basic principles of design

Clay was used to produce small-scale prototypes, selected for its accessibility and ease of manipulation. These models served as reference points for the fabrication of the final chairs by designer Taekhan Yun. In the finishing phase, the children participated in coloring the completed chairs using crayons, followed by acrylic lacquer spray and varnish. Through this process, the project combined design education, material experimentation, and hands-on participation, resulting in a series of chairs shaped by both individual input and collaborative production.

the project was created in collaboration with students in Siem Reap, Cambodia

the chairs were born from the children’s imagination

each chair was made to fit the child’s own body

children participate in the finishing stage of the chairs

crayons are used to apply color to the surfaces

acrylic lacquer spray seals the colored finishes

each chair reflects an individual child’s input

more than 70 children drew their own chair designs

the children worked in pairs to measure their bodies in order to build their own chairs

based on their height and measurements, the kids described the chair they wanted to make

clay models translate drawings into three-dimensional forms

each child made a prototype of their chair using clay

 

 

 

 

 

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A post shared by Taekhan Yun (@taekhannn)

children gathered to look at and share each other’s drawings

project info:

name: Chair for Kids

designer: Taekhan Yun | @taekhannn

location: Siem Reap, Cambodia

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

edited by: christina vergopoulou | designboom

The post playful children’s drawings become colorful handmade chairs in cambodia appeared first on designboom | architecture & design magazine.

Pierre Augustin Rose introduces its first collection of Aubusson tapestry pieces, bringing historic woven surfaces into conversation with the studio’s contemporary furniture designs. The exhibition, now on view at the gallery’s New York location, frames tapestry as a material presence rather than decoration. It allows textile to operate with the weight and authority of an architectural finish.

Produced in Aubusson, the French town whose weaving tradition dates back to the 15th century, each tapestry carries the density and depth associated with centuries of skilled labor. Recognized by UNESCO for its cultural significance, this craft relies on slow construction, with color and pattern built through successive passes of thread. In this context, tapestry reads as a layered and durable structure, rather than as a soft accessory.

images © Matteo Verzini

a new life for aging tapestry fragments

For this collection, Pierre Augustin Rose integrates genuine 18th-century Aubusson tapestry fragments into new designs, allowing historic textiles to shape the identity of each piece. The tapestries bring visible signs of age, such as subtle fading, softened contours, and irregularities from hand weaving. These elements that contrast with the precision of the studio’s furniture forms. Wood frames and upholstered volumes serve as measured supports and give the tapestry space to assert its own presence.

The dialogue between old and new remains restrained and deliberate. The tapestry functions as a surface with memory, while the contemporary form establishes scale, proportion, and use. Together they produce objects that feel architectural in intent, designed to occupy a room with the same confidence as built elements. Through this approach, Pierre Augustin Rose positions tapestry as a living material that’s capable of shaping interior space while carrying forward the accumulated history of craft.

Pierre Augustin Rose presents its first collection incorporating Aubusson tapestry

the collection treats tapestry as a material surface over a decorative backdrop

Aubusson weaving brings centuries of French craft into contemporary design

each piece integrates authentic eighteenth century tapestry fragments

furniture forms provide structure and proportion for the historic textiles

visible age and patina shape the visual character of the works

the collection positions tapestry as a living element of modern interiors

project info:

name: Aubusson Collection

gallery: Pierre Augustin Rose

location: 224 Centre Street, New York, NY

photography: © Matteo Verzini | @matteoverzini

The post 18th-century aubusson tapestries repurposed for pierre augustin rose’s furniture collection appeared first on designboom | architecture & design magazine.

At Design Miami’s 20th edition, Paris-based architects and designers Berenice Curt and Caroline Duncan introduce the first chapter of Scenarii Édition, a new curatorial line extending their ongoing investigations within Berenice Curt Architecture. Presented in collaboration with The Spaceless Gallery, the debut features two pieces, the Tripodal chair and the Torii table. Both works rely on hand-polished stainless-steel frameworks, setting the stage for material experiments ranging from reclaimed wood to mycelium-grown textiles.

Scenarii Édition positions collectible design as a site for rethinking material life cycles. The studio’s method is grounded in the belief that leftover, irregular, or undervalued materials carry narrative weight. Throughout the debut collection, stainless steel becomes a stabilizing armature that welcomes evolving surface treatments, wood, stone, biomaterials, each chosen for its imperfections rather than despite them. This perspective, the designers note, transforms fragments into protagonists, allowing form to emerge through processes of elevation rather than erasure.

Torii table and tripodal arm chair | all images courtesy of Berenice Curt and Caroline Duncan

the tripodal chair: biomaterial meets hand-woven craft

The Tripodal chair, also available as an armchair, anchors its identity in a converging three-leg geometry, a polished stainless-steel structure conceived as a host for multiple future upholsteries and textures. For the special Design Miami edition with The Spaceless Gallery, Curt & Duncan pair the frame with Reishi, a mycelium-grown material developed by MycoWorks. 

This iterative, manual process sets up a dialogue between technological innovation and human gesture. The biomaterial’s softness contrasts with the precision of the steel, while the woven pattern reveals the value embedded in what would typically be discarded. In its Design Miami form, the Tripodal chair becomes an emblem for Scenarii Édition’s ethos. It’s sculptural yet adaptable, engineered yet mutable, and grounded in a belief that responsible fabrication can generate new aesthetic languages.

both works rely on hand polished stainless-steel frameworks

the torii table: reclaimed wood and polished steel

If the chair articulates the line’s material openness, the Torii table establishes its spatial vocabulary. Originally conceived around the reuse of marble fragments, the piece evolves at Design Miami into a composition combining a reflective stainless-steel frame with the warmth of walnut. The tabletop is constructed from reassembled slats cut from collected offcuts, forming a linear grain that reads as both pattern and process, the repetition of remnants producing a new visual continuity.

Cross-shaped legs give the table structural stability and sculptural clarity. Meanwhile, the polished steel captures ambient light, refracting it across the table’s surface and subtly animating its presence in space. Produced in a limited series, each Torii table bears the distinct signatures of its materials, reinforcing the edition’s attention to resource awareness and artisanal precision.

Torii table in ouro negro marble and polished stainless steel

combining a reflective stainless-steel frame with the warmth of walnut

Tripodal armchair in woven reishi mycelium leather

manual process sets up a dialogue between technological innovation and human gesture

Tripodal armchair in light grey suede leather

the Tripodal chair becomes an emblem for Scenarii Édition’s ethos.

sculptural yet adaptable

grounded in a belief that responsible fabrication can generate new aesthetic languages

a host for multiple future upholsteries and textures

project info:

name: Scenarii Edition | @scenarii_edition Tripodal chair and Torii table
designer: Berenice Curt & Caroline Duncan | @berenicecurt_architecte

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

edited by: thomai tsimpou | designboom

The post mycelium textiles and reclaimed wood anchor scenarii édition’s debut at design miami 2025 appeared first on designboom | architecture & design magazine.

ECHO by KOD.objects reinterprets the material culture and architecture of 11th–17th century Russia as a sculptural furniture collection. Each object is crafted from plywood and recycled paper pulp, finished with a protective coating that adds durability and a tactile surface.

The project draws from ancient household objects, carved wooden forms, early stone structures, and the structural silhouettes characteristic of old Russian craftsmanship. These historical sources are translated into contemporary sculptural furniture. The collection includes stools, chairs, tables, consoles, and screens. Each object reinterprets the plasticity and rhythm of ancient forms into a modern architectural language.

all images courtesy of KOD.objects

Monolithic Forms and Recycled Materials Shape ECHO Collection

The pieces are defined by monolithic silhouettes, softened arcs, and minimal surfaces that create a grounded structural presence in the interior. All objects are made from a combination of plywood and recycled paper pulp. The surfaces are reinforced with a final protective coating that stabilises the form and creates a matte tactile finish. Each piece is handcrafted in small batches and designed as a collectible, gallery-level object. Through ECHO, studio KOD.objects continues its method of transforming cultural heritage into contemporary design, preserving the domestic and architectural code of the past in functional objects of today.

ECHO reinterprets early Russian material culture into sculptural furniture

plywood and recycled paper pulp shape the foundation of each piece

a protective coating reinforces the surfaces with a matte finish

the collection translates 11th–17th-century forms into contemporary objects

carved wooden forms inform the silhouettes of stools and chairs

early stone structures influence the monolithic shapes

tables and consoles feature grounded, minimal geometries

monolithic profiles give each object a strong spatial presence

paper pulp adds texture and depth to the finished surfaces

soft curves contrast with the collection’s heavy proportions

KOD.objects transforms cultural heritage into functional modern objects

project info:

name: ECHO
designer: KOD.objects | @kod.objects

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

edited by: christina vergopoulou | designboom

The post plywood and recycled paper pulp sculpt monolithic furniture collection appeared first on designboom | architecture & design magazine.

SO KOIZUMI DESIGN introduces ‘As,’ a furniture collection centered on the structural and expressive potential of asphalt. The series examines the material’s historical role and reinterprets it within a contemporary design context.

Asphalt has long been used as an adhesive, functioning as a connector between different materials. Although today it is most commonly associated with road paving, its essential purpose remains the act of binding. Drawing from this origin, the collection approaches asphalt as a mediating material that links heterogeneous components. References include its early use in Japan during the Jomon period, when it bonded wooden shafts to stone arrowheads. The collection applies this approach by pairing asphalt with metal, stone, resin, and other materials to create furniture pieces such as stools, side tables, and lamps.

all images courtesy of MATOYA

Asphalt and Mixed Materials fuse in So Koizumi’s Furniture Series

In the ‘As’ series, the designer expands on the material connecting concept by combining asphalt with metal, stone, resin, and other materials to form stools, side tables, and lighting pieces. Some elements, including portions of the asphalt itself, are shaped and finished through in-house material experimentation. This process involves cycles of refining structure and texture in order to study the inherent properties of each substance and the relationships that form when they are brought together.

The collection is presented at Gallery MATOYA in Aichi, Japan, from November 22nd to 30th, 2025, alongside a selection of earlier works by SO KOIZUMI DESIGN.

‘As’ collection explores the structural potential of asphalt in furniture design

asphalt is reconsidered as a connecting material between different components

asphalt acts as a mediator linking metal, stone, resin, and other materials

the collection draws from Jomon-period techniques of bonding wood and stone

lighting pieces experiment with the material’s binding properties

the project explores how heterogeneous materials interact through asphalt

stools in the series combine asphalt with contrasting materials

hybrid material combinations extend the concept of connection in design

asphalt surfaces reveal traces of the making and shaping process

the design process investigates how different substances relate when joined

pieces highlight asphalt’s adhesive origins through visible junctions

sections of asphalt are shaped and finished through in-house experimentation

the collection showcases a contemporary reinterpretation of an ancient technique

project info:

name: As
designer: So Koizumi | @so_koizumi_design

host: Gallery MATOYA

dates: November 22nd to 30th, 2025

photographer: MATOYA | @mato_ya

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

edited by: christina vergopoulou | designboom

The post asphalt mediates between metal and stone blocks in so koizumi’s furniture collection appeared first on designboom | architecture & design magazine.

At the Milanese gallery Carrozzeria900, the exhibition Teatro Domestico (Domestic Theater) displays a rare reconstruction of Mario Ceroli’s wooden furnishings from a single country house. On view until December 20th, 2025, the installation restores the intimate unity of a domestic space envisioned by one of Italy’s most distinctive sculptors and designers.

Entering the space, visitors encounter a complete environment of Ceroli’s pieces, drawn from the Mobili nella Valle series, a body of work sparked by his 1965 sculptural response to Giorgio de Chirico’s Furniture in the Valley. Designed in the 1970s for Poltronova, the Russian pine furniture is warm and marked by visible grain, and each table and chair carries traces of manual workmanship that resist uniformity.

images © Carrozzeria900

italian design heritage shows at milanese gallery Carrozzeria900

For his Carrozzeria900 exhibition, Mario Ceroli’s approach belongs to an Italian lineage where sculpture extends into everyday life. In Teatro Domestico, form and function remain inseparable: the carved silhouettes of a bed or chair are at once structural and expressive. These are furnishings designed for living yet conceived with the sensibility of a set designer.

The choice of material is central. Pine, a modest wood, clearly holds the Italian designer‘s cuts and profiles with tactility. The grain’s direction guides the eye, suggesting movement across otherwise static planes. Within this controlled geometry, light becomes a collaborator — absorbed, refracted, and softened by the natural tone of the surfaces. This way, the room feels at once curated and discovered.

Teatro Domestico gathers Mario Ceroli’s pine furnishings with Carrozzeria900’s Milan gallery

decades preserved before new reassembly

The objects in Teatro Domestico share a single provenance: they were once part of a private interior, preserved for decades before being reunited in the gallery. Their reassembly transforms personal memory into architectural narrative. The installation conveys a sense of continuity between the home they once furnished and the exhibition that now houses them, aligning Ceroli’s practice with the broader history of Italian design as an art of spatial storytelling.

Mario Ceroli’s work has long moved between sculpture and scenography, between the singular gesture and the inhabited environment. His furniture captures this duality. Functional forms become carriers of emotion through proportion and material intelligence rather than ornament. In Teatro Domestico, the boundary between art and craft dissolves into a grounded and human design language.

each piece reveals Mario Ceroli’s sculptural approach to everyday forms

manual workmanship gives every object a sense of lived experience

set of twelve Fratina seats by Mario Ceroli for Poltronova, Italia, 1972

project info:

name: Teatro Domestico (Domestic Theater)

designer: Mario Ceroli | @mario.ceroli

gallery: Carrozzeria900 | @carrozzeria900

location: Via Teodosio 64, Milan, Italy

dates: November 19th — December 20th, 2025

The post mario ceroli’s de chirico-inspired furniture creates a ‘domestic theater’ at carrozzeria900 appeared first on designboom | architecture & design magazine.

Eduba, developed by Roie Avni, is an adaptive modular classroom furniture system that challenges the static nature of traditional learning spaces. Designed to make classrooms more flexible, dynamic, and student-centered, it allows quick and intuitive changes in layout and posture, enabling a fluid learning experience that evolves throughout the day. The system includes a chair and a table, both designed for versatility and ease of use. Each piece can be connected, detached, or flipped to create different configurations. The table offers three height levels by resting on different sides of its base, while the chair’s seat can be positioned high, mid, or low, encouraging movement, collaboration, and experimentation.

low seating encourages relaxed learning, creativity, and informal exchange | all images by Nadav Goren

Flexible classroom design promotes active learning

Constructed from durable plastic and lightweight aluminum, Eduba is strong yet easy to move, making it ideal for reshaping the classroom throughout the day. But beyond its function, Eduba reflects a belief: that learning is not one-size-fits-all. Each student can arrange their own setup to match their comfort, curiosity, and preferred way of engaging, while teachers can adapt the entire classroom layout to the flow and needs of each lesson. Rooted in the idea that education should be active, personal, and ever-changing, designer Roie Avni’s Eduba transforms the classroom into a living, responsive environment that grows and moves with its users.

high seating for dynamic learning – encourages movement, collaboration, and active engagement

standard seating mirrors traditional classroom layouts and structured learning

familiar seating for structured, front-facing learning

the furniture can be quickly taken apart and rebuilt, allowing smooth transitions between learning modes

each element can be connected, detached, or flipped for new configurations

adaptable furniture design allows for easy assembly and disassembly without the need for tools

Eduba promotes flexibility, movement, and student-centered learning

handle mechanism unlocks and locks the chair and table for easy height changes

the mechanism enables easy changes between low, medium, and high positions

different areas support focused study, group work, and relaxed floor-level exploration

the chair and table shift between low, medium, and high positions, adjusted by repositioning each base

project info:

name: Eduba — Adaptive Modular Classroom Furniture System
designer: Roie Avni

photographer: Nadav Goren | @nadav_goren

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

edited by: christina vergopoulou | designboom

The post modular furniture system transforms static classrooms into flexible learning spaces appeared first on designboom | architecture & design magazine.