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.

Animator Masanobu Hiraoka presents a new hand-drawn animated film created in response to On Being, a track and album by electronic musician and creative Max Cooper. The album explores personal reflection, inner experience, and the shared nature of human thought. The film approaches these themes through an intimate visual language rooted in drawing, movement, and transformation, allowing sound and image to exist in quiet dialogue.

Masanobu Hiraoka: On Being | all images courtesy of © Masanobu Hiraoka, 2025

On Being: Exploring Perception Through Drawing and Sound

Masanobu Hiraoka is a Tokyo-based animator known for his hand-drawn films. Working primarily with pencil and frame-by-frame animation, his practice foregrounds the physical act of drawing and embraces imperfection as a record of time and thought. His work often moves between figuration and abstraction, using transformation as a way to reflect inner experience rather than narrative structure. The animation unfolds with pencil lines forming figures and abstract structures that shift gradually, as human gestures appear momentarily before dissolving into organic forms, while biological patterns echo bodily systems and natural processes. Throughout the film, the hand of the animator remains present, with visible lines and subtle imperfections reinforcing the physical act of drawing and the passage of time.

Max Cooper is a London-based electronic artist whose work sits at the intersection of music, science, and visual art. With a background in computational biology, his compositions often explore patterns, systems, and emotional states beyond language, frequently extending into collaborative visual projects. His practice treats sound as a tool for inquiry, using music to investigate perception, identity, and what it means to be human.

animator Masanobu Hiraoka presents a new hand-drawn animated film

Hiraoka and Cooper in exploring perception beyond language

Hiraoka’s process is grounded in frame-by-frame hand-drawn animation, favouring spontaneity and intuition over strict planning. Rather than mapping images directly to musical cues, the artist responds to the emotional tone of the composition, allowing imagery to surface from memory and internal sensation. This approach results in a visual rhythm that feels measured and reflective, closely aligned with the pacing of the music without attempting literal translation.

Personal experience plays a central role in the film’s imagery. Scenes suggest childhood, family, and human connection, while remaining intentionally open-ended. Contemplating personal interpretation, these moments are interwoven with abstract sequences that reference growth, decay, and regeneration, creating a visual continuum between individual memory and universal biological patterns. This collaboration reflects a shared interest between Hiraoka and Cooper in exploring perception beyond language. The music itself is rooted in collected human reflections on existence and emotion, while the animation responds through drawn movement rather than symbolic explanation. Together, sound and image operate as parallel investigations into what it means to experience memory and presence. The result is a quietly immersive work that presents being not as a defined state, but as something continuously unfolding.

the film responds to On Being, a track and album by Max Cooper

the film explores themes of reflection and inner experience

the animation is created using pencil and frame-by-frame techniques

figures emerge and dissolve through gradual transformation

the imagery responds to the emotional tone of the composition

biological patterns echo bodily systems and natural processes

human gestures appear briefly before shifting into organic forms

project info:

name: On Being: Masanobu Hiraoka translates memory into hand-drawn motion for Max Cooper
animator: Masanobu Hiraoka

musician: Max Cooper | @maxcoopermax

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 hand-drawn abstract figures dance along max cooper’s music in film by masanobu hiraoka appeared first on designboom | architecture & design magazine.

Federico Babina’s Musealis illustration series reimagines seventeen of the world’s most iconic museums as an imaginary black-and-white atlas, a visual journey. Each architectural illustration arises from the encounter between content and container. The architecture, with its geometries, both embraces and allows itself to be traversed by words, the titles of the most emblematic works housed within. No longer captions, but building blocks: the artworks transform into a plastic language, into lines, squares, curves, solids, and voids that construct the very image of the museum.

In Musealis, the words of the artworks are freed from their descriptive function and become raw material. They intertwine, overlap, and fold into the graphic rhythms that define the building’s shape. Thus, what normally lives on walls, in rooms, and in display cases finds a new existence within the structure that contains it.

Tate Modern | all images by Federico Babina

Weaving Architecture and Art Into One Continuous Visual Story

Each museum becomes a narrative machine, gathering dispersed fragments, titles, stories, memories, and transforming them into a single visual story. The central metaphor is a two-way movement: sometimes the artwork adapts to the space that hosts it, as if the museum were an organism capable of shaping its own skin to embrace what it contains; other times, it is the space that sculpts itself around the artwork, becoming a sculpture itself. In this dialectic, museum and art merge into a single entity, a complex body in which one cannot exist without the other.

The seventeen illustrations of Musealis celebrate precisely this fusion. Each building, recognizable in its architectural iconicity, is at the same time a mosaic of words, a narrative fabric woven from the works it houses. The museum thus becomes a great tapestry, in which the sequence of exhibition spaces stitches together a heterogeneous heritage, transforming it into a single coherent and vibrant surface. Musealis is a tribute to museums as living places, capable of telling stories not only through what they display but through what they are. An invitation to see art and architecture as two voices of the same discourse, two hands shaping the same form. Illustrator Federico Babina quotes Pablo Picasso: ‘Give me a museum, and I’ll fill it.’ 

Centre Pompidou

Guggenheim New York

Musealis weaves architecture and art into one continuous visual story

Kimbell Art Museum

Neue Nationalgalerie

Bauhaus Archiv

MACBA Barcelona

Federico Babina maps seventeen museums using typography and geometric forms

MAXXI

Louvre

Guggenheim Bilbao

illustrated museums as narrative bodies in a dialogue between space and art

Pavillon Le Corbusier

21st Century Museum Kanazawa

project info:

name: Musealis

artist: Federico Babina | @fbabina

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 the pompidou, guggenheim and more come alive in federico babina’s musealis illustrations appeared first on designboom | architecture & design magazine.

Mellow Schema Tarot is a minimalist tarot deck developed by artist Arum Lee for quiet contemplation and intuitive exploration. Created since 2023, the project blends abstract visual language with a minimalist and meditative approach. Inspired by meditation practice, the deck reinterprets the Waite Smith system through gentle compositions, soft textures, and layered forms. Each card invites calm, reflection, and intuitive connection, offering a spacious visual field that supports personal interpretation.

all images courtesy of Arum Lee

Tarot deck Explores Non-Figurative Symbolism for Visual Quiet

Rather than relying on traditional figurative iconography, it explores symbolism through line, color, and shape, allowing space for silence, emotion, and inner resonance. The deck is intended for art lovers, spiritual seekers, and contemplative minds drawn to poetic ambiguity and visual quiet. Entirely created, written, and designed by Paris-based artist Arum Lee, the project was launched on Kickstarter on October 29th, 2025, and reached full funding within the first 12 hours.

Mellow Schema Tarot blends abstraction with a meditative visual language

soft textures and layered forms define the tarot deck by Arum Lee

gentle abstract geometries shape the deck’s visual identity

symbolism is expressed through line, color, and shape rather than figures

designed by Arum Lee as a tool for intuitive and emotional exploration

project info:

name: Mellow Schema Tarot | @mellow.schema
designer: Arum Lee | @arum.lee

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 pastel-toned abstract compositions shape minimalist mellow schema tarot deck appeared first on designboom | architecture & design magazine.

The Pen Display 24+ from Xencelabs introduces the industry-first built-in Calman Ready hardware calibration to guarantee color fidelity for all professional workflows in digital drawing, spanning fields such as industrial design, animation, illustration, and visual effects. Calman Ready means the display can be hardware calibrated to exacting standards, including Pantone and SkinTone validation, with calibration data stored directly on the device. Collaborating with industry giants like Adobe, Corel, and Autodesk, Xencelabs is not just building tools, it’s fostering a community dedicated to refining what’s possible in digital art.

Xencelabs Pen Display 24+ | all images courtesy of Xencelabs

SENSORY-DRIVEN DESIGN REDEFINING PRECISION

Xencelabs offers premium digital drawing products designed specifically for professional artists. Tested and used by a global network of over 100 top artists including Disney Director Tony Bancroft and 3D artist Zhelong Xu, the brand’s devices combine studio-grade precision with uncompromising ergonomics, leaving the creator fully immersed in the work. Their user-centric approach has culminated in special functions and features like Super AG Etching anti-glare glass for a paper-like feel, fanless cooling for silent operation, and the inclusion of two customizable pens to fit any grip. The deep engagement with the creative workflow led to the Xencelabs Pen Display 24+, a device that introduces the industry-first built-in Calman Ready hardware calibration to guarantee color fidelity for all professional workflows.

The brand’s underlying philosophy is captured directly in its name. ‘Xence,’ a phonetic play on sense, reflects the essential human experiences like sight, sound, and touch, the core elements from which creativity flows. ‘Labs’ signifies a space dedicated to relentless experimentation and refinement. This fusion defines Xencelabs’ genuine commitment to co-creation, establishing a process where engineers actively observe the creative environments and daily challenges of professional artists, who then rigorously test the product for its efficiency. The brand’s goal is not merely incremental improvement, but to anticipate the smallest detail that impacts a workflow. For a deeper look into the creative minds that influence Xencelabs, explore the Artist Spotlight series, featuring intimate conversations with leading digital artists.

Xencelabs consistently collaborates with world-class artists to refine each product element

SILENT ENGINEERING DETAILS THAT ELEVATE THE DIGITAL ART WORKFLOW

The Xencelabs Pen Display 24+ marks a significant leap forward in professional creative tools, notably being the first drawing display with Calman Ready built in. This ground-breaking integration provides precise hardware color calibration. Unlike typical software solutions, this ensures consistent reliable studio-level color across complex pipelines like VFX and photography with calibration data stored directly on the device. It is also validated by Pantone and SkinTone for true-to-life color accuracy.

The 4K UHD screen boasts Super AG Etching anti-glare technology on a fully laminated optical glass surface. This technology not only dramatically reduces studio glare but also provides a highly praised paper-like feel with minimal parallax for a natural, responsive stroke.

To maintain a serene workspace, Xencelabs engineered a fanless cooling system in both its 16-inch and 24-inch models. By using a high-performance alloy backplate for passive heat dissipation, the display remains cool and virtually silent during extended use. This attention to distraction-free operation is key to fostering an immersive creative environment.

The drawing instruments are equally thoughtful. The EMR pen technology is fine-tuned with 8192 levels of pressure sensitivity and an initial activation force of just 3 grams. To accommodate different grip styles and muscle memory, every display comes with two pens, a 3-Button Pen and a Thin Pen, allowing artists to switch instantly between tools for different tasks without breaking their creative flow. Both feature an eraser on the reverse end that can be customized to preference.

Xencelabs’ pen technology benefits from 30 years of EMR stylus innovation

Finally, the peripheral experience is optimized for speed. The highly intuitive Quick Keys remote features an OLED display showing up to 44 customizable shortcuts per application. It emerged from observing artists’ frequent app switching and the burden of memorizing shortcuts. The wireless, ergonomic design and physical dial reduce reliance on the keyboard. This allows users to confirm commands visually and position the remote naturally, supporting a comfortable, fluid posture for right and left-handed creators alike. 

Xencelabs also offers well-equipped bundles tailored to professional workflows

project info:

brand: Xencelabs | @xencelabs

product: Xencelabs Pen Display 24 Series

The post xencelabs redefines precision and color fidelity in digital creation with pen display 24 series appeared first on designboom | architecture & design magazine.

Architect and illustrator Johana Mendoza reinterprets architecture through narrative illustration, transforming built forms into visual stories. Her work explores how light, color, and composition can translate spatial qualities into emotional and cultural meaning.

Mendoza’s drawings often merge precise architectural representation with elements of fantasy, at times juxtaposing familiar cultural references, such as Disney’s animated characters, with celebrated works of architecture. Through this lens, she examines the intersection of memory, imagination, and design, presenting architecture as both a physical and narrative construct.

Salk Institute | all illustrations by Johana Carolina Mendoza Rodriguez

Johana Mendoza recontextualizes architectural landmarks

Based in Quito, Ecuador, Johana Mendoza studied architecture at the Pontificia Universidad Católica del Ecuador (PUCE). Her practice combines technical accuracy with interpretive storytelling, highlighting how drawing can extend beyond documentation to become a reflective and expressive medium.

By recontextualizing landmarks and everyday structures alike, the designer emphasizes architecture’s capacity to evoke emotion, bridge cultural narratives, and engage viewers through visual dialogue. Her illustrations operate between art and design, suggesting that the representation of architecture can function as a poetic language, one that connects the tangible with the imagined.

Cuadra San Cristóbal

Space Needle

Kaufmann Desert House

Solomon R. Guggenheim Museum

Casa en Burdeos

The Museu de Arte de São Paulo

Geisel Library

Barcelona Pavilion

Farnsworth House

Lovell Health House

The Glass House

project info:

name: Architectural Illustrations
illustrator: Johana Carolina Mendoza Rodriguez

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 disney’s animated characters reimagine iconic architectural landmarks appeared first on designboom | architecture & design magazine.

The Lifelines furniture collection by Kirsi Enkovaara translates painted mental landscapes into a series of objects and artworks arranged in a deliberately fragmented sequence. The collection includes The Lifeline Chair alongside a selection of deconstructed paintings.

The chair is conceived as an interactive piece. Its structure allows the paintings to function like turning pages in a book, enabling users to alter the visible composition and create new visual arrangements. This adaptability introduces a variable spatial experience, where the scenery shifts according to each adjustment.

all images by Iiro Tujula, courtesy of Kirsi Enkovaara

chair transforms into an interactive painted composition

The starting point for the collection was the disassembly of the designer’s own paintings. Reconfigured into new orders, these works explore the notion of life not as a seamless continuum, but as a composition of separate moments and emotions. Together, the chair and paintings present a study of fragmented yet interconnected experiences, expressed through both object and image.

furniture and art merge in fragmented compositions

a collection translating mental landscapes into form

the Lifeline Chair alongside deconstructed paintings

the chair as an interactive object

each adjustment creates a new scenery

painted surfaces reimagined as movable fragments

deconstructed paintings form the basis of the series

works reconfigured into deliberately new orders

paintings function like turning pages in a book

fragments stitched into meaningful mental landscapes

object and image converge in the collection

personal narratives expressed through shifting compositions

the collection highlights the interplay of memory and form

project info:

name: The Lifelines collection
designer: Kirsi Enkovaara | @kirsienkovaara

photographer: Iiro Tujula | @iirotujula

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 lifelines collection merges painted abstract landscapes with furniture design appeared first on designboom | architecture & design magazine.

Nima Nabavi brings together a constellation of radiant energies that converge with structural order in his solo exhibition Sunrise at the Vortex in Dubai. On view at The Third Line, Roswell2223 forms a gravitational center, laying out a monumental hand-drawn piece that stretches across an 18-foot-long canvas. Saturated with color and encrusted with detail, it distills the core of Nabavi’s practice which seeks to evoke awe, resolve inner resonance, bridge abstraction with emotion, and manifest precise complexities and natural energies through geometry.

Created over the course of a year during a residency in New Mexico, Roswell2223 marks the furthest the Iranian artist has ever pushed the limits of his process. The result is a sprawling, crystalline composition that channels a spiritual intensity and meditative clarity. While the exhibition presents a range of works — some meticulously hand-rendered, others made with the aid of architectural pen plotters — they all maintain a sense of transcendence. Whether plotted by machine or drawn line by line, Nabavi’s geometries work somewhat like elusive discoveries. ‘These patterns, structures and geometries carry a magical appeal that I’m not getting any closer to understanding,’ he tells designboom. ‘It feels more like archaeology to me – I’m finding and exploring these visual phenomena, not inventing them.’ We spoke with the artist to learn more about the methods, philosophies, and intentions behind Roswell2223 and how they resonate with the introspective and technical undercurrents of Sunrise at the Vortex.

image by Ismail Noor | all images courtesy of The Third Line

Nima nabavi on the precision and labor of his process

Roswell2223 was created during Nima Nabavi’s time at the Roswell Artist-in-Residence program in the US, where, for the first time, he notes, he had the space and time to expand the bounds of his intricate visual language at such an expansive level. ‘I bought the largest roll of canvas I could find, the biggest ruler I could find (9 feet long), and hundreds of markers in 17 colors,’ he shares with us. ‘I then rolled out the canvas on the floor and started working on the piece line by line.’

He describes this layered and considered process as physically taxing but spiritually immersive, and led partly by chance despite the calculated geometries, as he recalls not knowing exactly how the piece might turn out. ‘I was kneeling, squatting, sitting and bending over for hours on end, but being able to literally sit inside the work and be engulfed by it also brought so much joy.’  The resulting composition measures 18 feet by 6 feet, across which the layers upon layers of lines form a crystalline mapping of the universe that invites viewers, too, to loose themselves in. True to the exhibition’s name, the romantic vibrancy of the work and its motion exudes a sense of soothing energy.

Roswell2223 forms a gravitational center at the exhibition, Sunrise at the Vortex | image by Tonee Harbert

working between manual and mechanical precision

The surrounding works on view as part of Sunrise at the Vortex further reflect Nima Nabavi’s explorations of the connection between himself and the universe, bringing together works he created in makeshift studios in Roswell, New York, Los Angeles, and Dubai. Some, in contrast to the centerpiece’s laborious methodologies, are machine-assisted and produced using architectural pen plotters, a tool Nabavi only recently incorporated into his practice. Among them, Source Code closely echoes the idyllic, meditative hues of Roswell2223, though on a much smaller canvas.

Within a rounded surface densely marked by over 4 million plotted dots, resembling a sun about to set or rise, the artist notes that there is a level of detail, complexity, and saturation that he would have not have been able to achieve manually. Speaking then on this shift toward the mechanical, he reflects that these plotters are a tool that frees his imagination from the constraints of the hand. ‘It removes arbitrary limitations and opens me up to thinking about my work in a more expansive way,’ he adds. ‘Instead of considering how to reduce my ideas so that they are humanly ‘doable’, I’m expanding my tools to match the ideas… It’s a total paradigm shift – I can use alternate building blocks like curved lines in my works, I can saturate colors like never before, and I’m able to experiment faster.’

a monumental hand-drawn piece stretching across an 18-foot-long canvas | image by Tonee Harbert

translating energy into structured forms and geometries

This balance between control and joyful discovery pulses throughout the exhibition, which as a whole offers a continuum of experimentation across dualities. Between the intimate and the industrial, and the intuitive and the algorithmic, Sunrise at the Vortex embraces a spiritual luminosity that persists across the show’s various structural forms and scales. Even as Nabavi’s process becomes increasingly complex and precise in these abstract expressions, the work retains an elemental radiance that draws you in.

‘These patterns, structures, and geometries carry a magical appeal that I’m not getting any closer to understanding. It feels more like archaeology to me — I’m finding and exploring these visual phenomena, not inventing them,’ he tells designboom.

the vibrancy of the work exudes a sense of soothing energy | image by Tonee Harbert

Nima Nabavi brings together radiant energies that converge with structural precision | image by Tonee Harbert

the creative process was physically taxing but spiritually immersive | video still by Tonee Harbert

‘These patterns, structures and geometries carry a magical appeal’, he says | video still by Tonee Harbert

Source Code echoes the idyllic, meditative hues of Roswell2223, on a much smaller canvas | image by Altamash Urooj

marked densely by over 4 million dots plotted by a machine | image by Altamash Urooj

Sunrise at the Vortex reflects Nima Nabavi’s explorations of intricate geometries | image by Ismail Noor

project info:

name: Roswell2223

artist: Nima Nabavi | @nimanothome

location: The Third Line, Dubai

exhibition: Sunrise at the Vortex

dates: 15th June—3rd August 2025

The post behind nima nabavi’s vast geometric vortex painting: converging energy, labor, and structure appeared first on designboom | architecture & design magazine.

The Fondazione Milano Cortina 2026 and Triennale Milano unveil the official posters of the Olympic and Paralympic Winter Games, hand-painted by ten young Italian artists. In collaboration with the International Olympic Committee (IOC) and the International Paralympic Committee (IPC), the project, led by Damiano Gullì, taps ten artists under the age of 40 to interpret the Games through Italian contemporary art, somehow a continuation of the 2023 exhibition Pittura Italiana Oggi (Italian Painting Today). The five Olympic Art Posters were painted by Beatrice Alici, Martina Cassatella, Giorgia Garzilli, Maddalena Tesser, and Flaminia Veronesi, while the five Paralympic Art Posters were created by Roberto de Pinto, Andrea Fontanari, Aronne Pleuteri, Clara Woods, and Giulia Mangoni.

The art posters have represented the cultural significance of the Games since 1972, with artists such as Robert Rauschenberg, Andy Warhol, David Hockney, and Eduardo Chillida presenting theirs in the previous editions. After the unveiling at Triennale Milano on June 18th, 2025, the ten original art posters of the Milano Cortina 2026 remain on site in the newly renovated Piano Parco Galleries until March 15th, 2026, alongside the Olympic and Paralympic Winter Games torches, which were previously unveiled in April 2025. The foundation adds that in the coming months, the team and Triennale Milano, plans to announce a calendar of events focusing on sport, art, and society.

2026 by Giorgia Garzilli | all images courtesy of Fondazione Milano Cortina 2026

The artworks depicting the Olympic winter games

Each of the posters has its own meaning, referring both to the Olympic and Paralympic Winter Games of Milano Cortina 2026 as well as the Italian scene and culture. For Giorgia Garzilli, it’s the pleasure of gelato as she stacks up the five circular rings on a cone, a reminder to the athletes and sports enthusiasts to have fun while competing. The mountains around Italy appear as the backdrop of Beatrice Alici’s art poster, hinting at the Games as a mythical stage. Here, the athletes present the physical effort in their respective sports, all the while suspended in space and a dreamlike scenery. Nature is also the focus of Maddalena Tesser’s vibrant artwork, alongside the splash of colors. For the artist, the shades of blue, black, red, yellow, and green against the white canvas come together to form a landscape inspired by the Dolomites and a figure of a woman dreaming. 

Her hair falls, creating the shape of a piste, which circles back to the Olympic and Paralympic Winter Games of Milano Cortina 2026. Dreaming is also a central theme in Flaminia Veronesi’s art poster, where a woman daydreams while immersed in colorful soap bubbles depicting the Olympic rings. Figures appear in their athletic stances, and in one bubble, there’s an image of a hybrid flying dragon, which is a cross between the biscione, or the symbol of Milan, and the Dolomites of the Milano Cortina 2026. Then comes the fiery art poster of Martina Cassatella, where two intertwined hands merge into a flame, evoking the Olympic torch. For the artist, fire is an element of renewal and transformation, of a driving energy filtering through the spirits of the athletes as they play their sports.

Silver Peaks by Beatrice Alici

Posters of the Paralympic games at milano cortina 2026

Away from nature and dreams, the art posters of the Milano Cortina 2026’s Paralympic Games focus more on people and their attributes. In Andrea Fontanari’s artwork, colorful brushstrokes form two figures that help and carry each other to the finish line, a strong reminder that ‘every small act of altruism can ignite a spark and inspire real change,’ the artist says. Deconstructing the stereotypical body shapes using Microsoft Paint marks the art poster of Aronne Pleuteri, resulting in a canvas filled with abstract and uncontrollable whirls. These swirling lines also visit the artwork of Roberto de Pinto, where he personifies a Paralympic athlete who braves challenges.

In his canvas, the snowdrop, a flower typically found in the Italian mountains at the end of wintertime, comes through, a symbol of strength for the artist because it manages to pierce the cold snow cover and bloom. These themes of resilience and strength show up in Clara Woods’ Milano Cortina 2026 art poster named ‘Your Love.’ For the artist, sports, like life, is an event where ‘we fall, we rise, we cheer for each other, and we keep going,’ she says. The series concludes with Giulia Mangoni’s artwork, which draws from a photograph of the China-Sweden wheelchair curling final at the Beijing 2022 Paralympics. The athlete raises her arms in joy and victory, and the artist reiterates celebrating every athletic achievement, topping it off with the phrase, ‘victory is more than just a moment.’

The Mountain by Maddalena Tesser

The Oasis of Play by Flaminia Veronesi

Torch by Martina Cassatella

Together We Play, Together We Transform by Andrea Fontanari

Untitled by Aronne Pleuteri

Untitled (Snowdrops) by Roberto de Pinto

You Love by Clara Woods

Victory is More Than a Moment by Giulia Mangoni

project info:

name: Olympic and Paralympic Winter Games art posters

foundation: Fondazione Milano Cortina 2026 | @milanocortina2026

institution: Triennale Milano | @triennalemilano

artists

olympics: Beatrice Alici, Martina Cassatella, Giorgia Garzilli, Maddalena Tesser, Flaminia Veronesi | @beatricealici, @n._verde, @giorgiagarzilli, @maddalenatesser, @flami_veronesi

paralympics: Roberto de Pinto, Andrea Fontanari, Aronne Pleuteri, Clara Woods, Giulia Mangoni | @roberto_depinto, @andrea.fontanari, @barbaronne, @woods_clara_, @gmangoni

The post milano cortina 2026 unveils olympic and paralympic winter games posters painted by artists appeared first on designboom | architecture & design magazine.

Cringémon is a comedic art project that transforms stereotypical LinkedIn profiles into Pokémon-style trading cards. Blending nostalgia with protest, the series exposes corporate ego and jargon through a collection of absurd, fictional office creatures.

Conceived by London-based artist and BAFTA-winning writer Dan Berg, the project reimagines LinkedIn personalities as fictional trading card creatures. Drawing on the aesthetic language of Pokémon, each of the 50 cards features an original character, such as the Fake Mentor, Disruption Ninja, or Empathy Consultant, complete with bios, hobbies, and ‘mic-drop’ facts.

logo with cards | all images courtesy of Dan Berg

Dan Berg’s Cringémon concept turns LinkedIn into comedy

Artist Dan Berg describes the work as a response to the surreal theatre of professionalism, characterized by exaggerated titles, manufactured authenticity, and self-mythologizing personal brands. Berg frames these personas as monsters from another realm, ‘a fantasy world where people list ’empathy’ as a skill and write 2,000-word posts about firing someone with grace.’

The cards are digitally illustrated, designed at standard playing card size, and printed on heavyweight art paper by a specialist card manufacturer. While the project mimics the format of a collectible deck, it deliberately subverts function. In this game, there’s no hierarchy, no win condition, only satire. Cringémon invites viewers to question how much of modern professionalism is performance, and how close it already is to fantasy.

montage of the printed cards

photograph of the cards

digital mock-up of ‘Fablemaker’

photograph of the cards

digital mock-up of Founda

digital mock-up of packaging

project info:

name: Cringémon
designer: Dan Berg | @bergonomix

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 gotta catch ’em all: cringémon turns linkedin personas into pokémon-style collectible cards appeared first on designboom | architecture & design magazine.