NUTS + BOLTS exhibition in Tivoli, NY, by Available Items showcases hardware store supplies as DIY chairs, tables, and lamps. Running until October 5th, 2025, the second edition of the exhibition focuses on design made from hardware store materials by 24 designers, including Fort Standard, Christian Borger, Office of Tangible Space, and outgoing. Each of them was asked to make a piece of furniture or home decor using only items that can be sourced from a local hardware store, and the brief allowed only a small amount of lumber without any use of 3D printing or parts bought from online industrial suppliers.

The result is a collection of chairs, tables, and lamps with utilitarian use, on view at the NUTS + BOLTS exhibition in NY. On-site, the materials used include PVC pipes, gutter parts, soil tampers, clamps, nuts, bolts, street brooms, chain link fence gates, tarps, and aluminum thresholds. By using these materials, the designers show how utilitarian products can be repurposed into finished furniture and objects. The project is organized by Available Items co-founder Chad Phillips, who explains that the aim is to explore design thinking as well as the use of everyday materials. The show is located at 64 Broadway, Tivoli, NY, and remains there until October 5th, 2025.

all images courtesy of Available Items

Lamp made of tube clamps and fishing net

Repurposed finished furniture takes the center stage inside the NUTS + BOLTS exhibition in NY. The design store and gallery presents the modular floor lamp by Christian Borger that uses ceiling louvers, which are usually flat panels placed in ceiling grids. It shares the same space with the Office of Tangible Space’s Street Broom Stool, a seat that uses wooden broom handles for the legs and frame, while the broom bristles provide the main seating space. 

Then, there’s the Catch & Release by Fort Standard, a floor lamp that combines three parts: a soil tamper, tube clamps, and a fishing net. The soil tamper forms the base, tube clamps hold the vertical rod, and a fishing net is used to hold the light bulb in place. The work uses off-the-shelf materials from different categories like gardening, plumbing, and fishing and brings them together into one functional object.

NUTS + BOLTS exhibition in NY by Available Items showcases hardware store supplies as furniture

prefabricated chain link fence becomes a chair

The studio we are happy people inc also presents Tensioned Tarp Semi-Sling Seat (Beware of Dog), a seat that uses prefabricated chain link fence gates and a tensioned tarp, where the gates form the outer frame and the tarp is stretched across to hold the sitter. In the same exhibition, outgoing’s The Part, a series of cyanotype prints, is also on view, which showcases the printing process that uses photosensitive chemicals to create images in blue and white. In this case, the hardware-store brief comes through the small items like screws, brackets, and clamps. 

There’s also the Trophy (for walking through a door) by Jed Heuer, and this sculptural table light is made from a bent Frost King aluminum doorway threshold and a ½-inch beam clamp, holding the threshold and supporting the light source. The 24 designers include Aaron Getman-Pickering, Audrey Louise Reynolds, Chad Phillips, Christian Borger, Fort Standard, Glue Obelisk, Huy Bui, Isaac Gamboa, Jake Coan, Jed Heuer, Jaime Viñas, Kieran Kinsella, Kump Studio, Lauren Hirsch, Neal Hollinger, Nick Ceglia, Office of Tangible Space, outgoing, Overt Cove, Rebeccah Pailes-Friedman, Skiff Creative Studio, Tristan Fitch, True Bend Studio, and we are happy people inc. The NUTS + BOLTS exhibition by Available Items is on view at 64 Broadway, Tivoli, NY, until October 5th, 2025.

the brief is to make a piece of furniture using only items that can be sourced from a local hardware store

only a small amount of lumber can be used without 3D printing or parts bought from online industrial suppliers

view of Skiff Creative Studio’s PVC Chair

view of Office of Tangible Space’s Street Broom Stool

exhibition view of the lighting designs and home decor

view of Christian Borger’s Louver Lamp

view of Overt Cove’s Downspout for Narcissus

view of we are happy people inc.’s Tensioned Tarp Semi-Sling Seat (Beware of Dog)

project info:

name: NUTS + BOLTS

gallery: Available Items | @available_items

designers: Aaron Getman-Pickering, Audrey Louise Reynolds, Chad Phillips, Christian Borger, Fort Standard, Glue Obelisk, Huy Bui, Isaac Gamboa, Jake Coan, Jed Heuer, Jaime Viñas, Kieran Kinsella, Kump Studio, Lauren Hirsch, Neal Hollinger, Nick Ceglia, Office of Tangible Space, outgoing, Overt Cove, Rebeccah Pailes-Friedman, Skiff Creative Studio, Tristan Fitch, True Bend Studio, and we are happy people inc.

location: 64 Broadway, Tivoli, NY

dates: August 29th to October 5th, 2025

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Beijing Mammoth Ivory Engraving Factory Exhibition Center integrates traditional Chinese craftsmanship with contemporary sustainable design. Located within Beijing’s second-ring road, the project by Chuxin Tuoyuan combines exhibition, sales, conference, and office spaces to form a cultural hub dedicated to the preservation and reinterpretation of mammoth ivory carving.

The facade references two key cultural symbols: the Oriental Crown, expressed through a roof structure that recalls dougong brackets, and the Imperial Lantern, represented through the use of copper detailing and transparent glazing. At night, engraved artworks within the building are revealed through the glass frontage, appearing as illuminated scrolls against the layered copper walls. The rhythmic composition of copper elements enhances depth, while engraved motifs shift subtly depending on the viewer’s angle.

the facade reinterprets Beijing’s historic mammoth ivory carving exhibition with contemporary elegance | all images courtesy of Chuxin Tuoyuan

Chuxin Tuoyuan merges tradition with sustainable design

Inside, the design draws from Chinese architectural traditions while adopting a minimalist, modern approach. Reinterpreted eaves and screen walls establish a layered spatial quality, with deep browns, grays, and beiges reinforcing a calm, refined atmosphere. The main exhibition hall incorporates floating staircases and reimagined flying eaves, inspired by Chinese garden architecture. This integration of indoor and outdoor elements creates openness while maintaining cultural resonance.

The display strategy followed by Chuxin Tuoyuan’s architects combines traditional exhibition cases with innovative ‘shadow puppet’ walls. Using backlighting technology, the system produces layered visual effects, balancing physical presence with illusion. Eight double-height display columns punctuate the core space, introducing vertical emphasis and solemnity. The central screen wall system employs insulated glass to regulate temperature and humidity for delicate works, ensuring proper preservation while offering dynamic backlit displays.

lighting transforms the facade, enhancing both its material beauty and cultural resonance

balancing cultural heritage with new conservation techniques

Material selection emphasizes low-carbon and eco-friendly solutions, including wood panels in natural tones that contribute to an atmosphere of warmth and continuity with Chinese classical aesthetics. Modular ceiling structures in the conference areas introduce variation and formality, while the exhibition’s sound-light interplay enhances the visitor’s sensory experience.

The project reflects extensive research into the history and preservation requirements of mammoth ivory carving. Design logic was informed by both the cultural significance of the craft and the technical needs of conservation, ensuring that spatial qualities serve functional, aesthetic, and heritage purposes simultaneously. By integrating sustainable technologies with cultural symbolism, the Exhibition Center demonstrates how architecture can support the continuation of traditional crafts in a contemporary context. The result is a space where tradition and innovation converge, reinforcing cultural memory while promoting wider recognition of Chinese craftsmanship.

the historic Beijing mammoth ivory carving exhibition hall exudes timeless craftsmanship and cultural heritage

red copper craftsmanship shapes materiality and order through symbolic design elements

a refined exhibition hall where mammoth ivory carvings align with a floral mural backdrop

the interior showcases mammoth ivory carvings encased in glass columns

a shadow-play wall where light and shadow create a delicate, ethereal beauty

floating marble staircase embracing a full-height glass display with carved peacocks

the space merges traditional craftsmanship with modern design techniques

sculptural displays and refined materiality foster cultural exchange around the art of ivory carving

an ink-paste-inspired logo marks the mammoth ivory carving exhibition

marble lights glow softly over bronze details, giving the facade a poetic presence

project info:

name: The Timeless Grace of Eastern Carving

architect: Chuxin Tuoyuan
lead designers: Meng Zhao, Meng Zhang
location: Beijing, China

area: 1,200 sqm

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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V&A East Storehouse announces new details on the David Bowie Centre ahead of its opening on September 13th 2025 in London, England. Set to be the permanent home of David Bowie’s personal archive with more than 90,000 items, the museum allows visitors to schedule a one-on-one with the items on display so they can view certain objects more closely and with a reduced crowd. The David Bowie Centre archive includes handwritten lyrics, drawings, costumes, photos, letters, musical instruments, set lists, and design sketches. Some of the late revered artist’s unrealized projects are on display too, from ideas for albums to films and tours that were never finished. 

More specifically, the David Bowie Centre reveals a wealth of previously unseen items from the artist’s archive, including one of Bowie’s final Ziggy Stardust guitars, costumes for The Next Day and Blackstar, and Jim Henson-designed puppets from an unreleased music video. Nine rotating mini-displays feature around 200 highlights, while guest-curated selections by Nile Rodgers and The Last Dinner Party provide intimate insights into Bowie’s collaborations and creative process. The Centre, designed by IDK, also includes interactive installations such as The Library of Connections, tracing Bowie’s cultural influence from fashion to music, and offers free behind-the-scenes sessions with the archive team in its Object Encounters program.

overview of the David Bowie Centre | all images by David Parry PA Media Assignments, unless stated otherwise

More than 90,000 items on display within V&A East Storehouse

At the David Bowie Centre, opening in September 2025 within the V&A East Storehouse museum, the archive collection also showcases the artist’s many artistic identities, such as Ziggy Stardust and Aladdin Sane. Visitors can learn how he created these characters, how he used technology and science fiction, and how he designed his stage shows to be unique and theatrical in the permanent archival home.

Some of the highlights include David Bowie’s 1987 Glass Spider Tour as well as his 1987 concert at the Berlin Wall. The David Bowie Centre also features guest-curated displays, where artists who worked with him or were inspired by him choose memorabilia to show. One is by Nile Rodgers, a music producer who worked on David Bowie’s albums Let’s Dance and Black Tie White Noise.

set to be the permanent home of David Bowie’s personal archive

Guest-curated displays with rare photos of studio sessions

For his guest curation, Nile Rodgers chooses items that show their friendship and musical teamwork, including the custom suit David Bowie wore on tour, photos of him recording music with Rodgers, some personal letters they exchanged, and several rare photos of studio sessions with backup singers, to name a few. Another display is by The Last Dinner Party, a modern British rock band, choosing objects from the 1970s that show David Bowie’s artistic energy, such as the handwritten lyrics from his Young Americans album and notes from his Station to Station tour.

The other archives are a manual for a special synthesizer Bowie used in his Berlin Trilogy albums as well as photos of the artist working in the studio. The David Bowie Centre, set to open on September 13th, 2025, was made possible by the David Bowie Estate, the Blavatnik Family Foundation, and Warner Music Group. It’s now part of the larger V&A Archive, which holds works from like Vivien Leigh, The House of Worth, and Glastonbury Festival.

David Bowie Centre accommodates more than 90,000 items

a wealth of previously unseen items from the artist’s archive

a V&A Technician adjusts gold wings designed by Diana Moseley for David Bowie for the Glass Spider tour, 1987

visitors see some of David Bowie’s awards in storage

handwritten lyrics for song ‘Win’ from album Young Americans

applying finishing touches to a display of David Bowie’s ‘Unrealised Projects’

David Bowie’s paint palette and knife

Union Flag frockcoat designed by David Bowie and Alexander McQueen for Earthling, 1997

the archive collection showcases the artist’s many artistic identities

nine rotating mini-displays feature around 200 highlights

the Aladdin Sane jacket designed by Freddie Burretti for David Bowie on the Ziggy Stardust live tour in 1973

a set model designed by Jules Fisher and Mark Ravitz for Diamond Dogs tour, 1974

project info:

name: David Bowie Centre 

museum: V&A East Storehouse | @vamuseum

opening date: September 2025

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Village Numérique forms part of MUTEK, a festival that focuses on electronic music and digital arts with performances across Montreal’s Quartier des Spectacles. Running between August 19th and 24th, 2025, the cultural event operates for six consecutive days with programs and shows on audio and visual presentations. Esplanade Tranquille serves as the central hub for outdoor programming, while there are three venues hosting the main indoor one, namely The Society for Arts and Technology building, Place des Arts’ Théâtre Maisonneuve, and the MTELUS functions for presentations. In the same festival, the MUTEK Forum also takes place, which functions as a marketplace and discussion platform for digital creation professionals. Then, the Village Numérique, a public digital art project that takes place in the Quartier des Spectacles, with a circuit of 23 digital art installations. 

It runs beyond the event’s date, from August 14th to 28th, 2025, with digital art installations in several formats. In an interview with designboom, Alain Mongeau – the founder, artistic and general director of MUTEK – and Mikaël Frascadore – the executive producer of Village Numérique – explore the 26th edition’s theme on a new cycle of digital creativity, as well as some of the digital art installations presented at the circuit. ‘MUTEK has always been at the forefront of digital art dissemination, with special installation projects having been presented in the past. For this second edition of Village Numérique, we have expanded our offering with a greater diversity of media, more in-depth content, and more ways for the public to discover digital arts,’ Mikaël Frascadore tells designboom.

FLIP! by Troublemakers | all images courtesy of MUTEK and Village Numérique; photos by Tannaz Shirazi

Digital art installations around mutek’s village numérique

The digital art installations across Village Numérique include large wall projections showing digital images and moving visuals on building façades, interactive works that allow visitors to take part by moving, touching, or responding to sensors, virtual reality stations that use headsets and controllers to create digital environments, and immersive projects that combine sound, light, and moving images to surround the audience. At the festival’s Place de la Paix, The Door of the Refuge sets up an immersive passage that acts as an entry point for visitors, guiding them into a sanctuary-like space. Nearby at the Society for Arts and Technology, Astronomical Water mixes cosmic themes with water-inspired visuals and sound, using projection and movement to create flowing images.

The VS AI Street Fighting at Le Central allows visitors to engage in a simulated fight scenario where artificial intelligence responds to human movement, showing a contest between human players and machine systems. Moving underground to Saint-Laurent Station, ‘Wantastigan – what will remain still’ reflects on time and permanence through digital imagery, balancing static forms with shifting motion. In Le Parterre, a cluster of works appears. In Camera focuses on private perspectives, showing hidden or internal views through audiovisual sequences. I’M NOT A ROBOT examines the line between human and machine identity, asking viewers to engage with prompts about authenticity, while TETRA uses geometric design to project or display modular structures in three dimensions. 

Situational Compliance by Matthew Biederman and Lucas Paris

Technology-driven artworks on new cycle of creativity

The digital art installations at Village Numérique also showcase Situational Compliance, which responds directly to its surroundings, adjusting visuals and sounds based on audience movement. Public Space, Latent Space contrasts the visible city environment with hidden digital layers, connecting shared physical space with coded systems, while For You I Will Be An Island presents a narrative of separation, creating an enclosed environment where the visitor feels isolated within the work. Then, there’s FLIP!, which introduces constant reversals and rotations, using visual shifts to alter orientation and perspective. At Hexagram’s experimentation room, HEXAPHONE delivers six-channel sound, placing the audience inside a controlled audio field. Going to UQAM’s Agora, three works are staged: Éco-sonorités du vivant reproduces soundscapes from natural and biological sources, Storms immerses audiences in visual and sonic turbulence, and OPAL explores refraction, scattering light and color across surfaces. 

In the mezzanine of UQAM, NEST: Colony constructs an organic digital structure that simulates growth and collective form. Back to the Place des Arts, Dialogues invites interaction through conversational exchanges, with inputs creating shifting outputs, while Labyrinthe builds a maze-like path, encouraging physical navigation through digital corridors. Then in UQAM’s Chaufferie, Reflections uses mirrors and projection to create surfaces that invite contemplation and play with repetition of images. Some of these digital art installations at Village Numérique use high-resolution projectors, motion sensors, cameras, pressure plates, LED systems, and real-time rendering software, falling in line with this year’s theme on the new cycle of digital creativity. Our conversation below with Alain Mongeau and Mikaël Frascadore further unpacks the 26th edition of MUTEK festival, the curatorial process for selecting the presenting artists, and the over twenty digital installations in the Quartier des Spectacles.

detailed view of Situational Compliance by Matthew Biederman and Lucas Paris

Interview with Alain Mongeau and Mikaël Frascadore

Designboom (DB): This year marks the 26th edition of MUTEK, with the festival embarking on a ‘new cycle of digital creativity.’ What does this new cycle represent in terms of programming, vision, and MUTEK’s place in the global (electronic) arts scene? What kinds of experiences have you shaped for the attendees?

Alain Mongeau (AM): The idea of a ‘new cycle of digital creativity’ embodies both continuity and renewal. After celebrating our 25th anniversary last year, we felt it was the right moment to open a new chapter, one that recognizes how profoundly digital arts and electronic music have evolved and how MUTEK can continue to serve as a laboratory for what comes next. In terms of programming, this means delving even deeper into the intersections of music, immersive audiovisual works, and emerging technologies – AI, spatial sound, and beyond – while keeping live performance at the very heart of the festival. At the same time, we are broadening the ways in which new works can be presented, exemplified this year by the return of the Digital Village for its second edition. 

In camera by Ying Gao

AM (continues): Our vision is to reaffirm MUTEK as a meeting ground where experimentation, diversity, and critical reflection converge, offering audiences a singular aesthetic experience filled with discovery and wonder. On the global scene, MUTEK has long acted as a bridge: between generations, between local and international creators, and across disciplines. This new cycle reinforces our role as a platform where ambitious projects can find a stage, and where audiences can experience these innovations firsthand. 

This year, we have crafted a wide spectrum of experiences: intimate concerts, large-scale immersive performances, an open-air program in the bucolic setting of Théâtre de Verdure, thought-provoking daytime talks and workshops, and the serendipitous encounters that only a live, collective festival context can spark. Our aim is to inspire curiosity, engage multiple senses, and nurture a sense of community around the exploration of digital creativity.

The Door of the Refuge by Normal Studio

DB: This year’s lineup includes the North American premiere of Max Cooper’s Lattice 3D/AV and performances from Kevin Saunderson’s E-Dancer. What’s your curatorial process for selecting both global names and emerging voices? In what ways does the team’s selection allow the attendees to see, feel, and experience the relationship between the music and digital art?

AM: Our programming approach is rooted above all in the search for balance and dialogue between the different facets of the festival. On one hand, we are committed to inviting renowned figures such as Max Cooper or Kevin Saunderson, whose work in electronic music and digital art is exemplary. Their presence provides a strong anchor for the lineup, giving audiences the opportunity to experience ambitious projects by established artists in a live setting. At the same time, MUTEK has always been dedicated to discovery and to giving space to emerging artists who are pushing boundaries in their own ways. 

Storms by Quayola

AM (continues): We scan projects internationally, but we also place particular emphasis on the local scene, which is especially vibrant this year, for instance, our open call targeting Canadian artists received around 450 submissions. By placing young talents alongside established names, we create a dialogue that highlights both continuity and innovation within this artistic field. At the heart of it all is the focus on the live, sensory relationship between music and digital art.

We are drawn to works that engage audiences beyond sound alone: immersive audiovisual performances, experiments with 360° projections and spatialized sound, or hybrid formats that challenge conventional stage dynamics. The goal is to create an ecosystem of experiences where festival-goers don’t just listen, but also feel, see, and truly inhabit the artistic universe that each creator brings to life.

VS AI Street Fighting by Dimension Plus

DB: Village Numérique was launched in 2024 to celebrate MUTEK’s 25th anniversary. What was the original inspiration behind creating a standalone digital art circuit within the festival, and how has that vision evolved for this second edition?

Mikaël Frascadore (MF): MUTEK has always been at the forefront of digital art dissemination, with special installation projects having been presented in the past. However, we felt that there was a real enthusiasm, but also an opportunity to showcase the enormous talent of local creators in a more formal context. Quebec is the birthplace of many highly innovative projects, artists, and studios. For this second edition, we have expanded our offering with a greater diversity of media, more in-depth content, and more ways for the public to discover digital arts. We want to develop audiences and contribute to the success of the industry.

NEST: Colony by Iregular

DB: This year’s Village Numérique features over twenty digital installations across Quartier des Spectacles. Can you walk us through how these works are presented? What kinds of tools, platforms, or experimental tech are being used by artists in this year’s program, if you can name a few, and how do they encourage interaction with the viewers, including those unfamiliar with digital art?

MF: There are indeed 28 installations spread across 23 venues. This year, several projects have been made possible thanks to university research projects. For instance, AI agents are used to generate content, analyze gestures, and translate them into actions. Audiovisual, networking, and computer integration are now at the heart of the means by which artists express themselves. The projects offer more targeted experiences, where people can interact directly with the content. Even when the works have multiple layers of complexity, newcomers can still find something to enjoy because the means of interaction remain intuitive. Users who want to go deeper can also do so.

For You I Will Be An Island by Chun Hua Catherine Dong

MF (continues): The artists have taken care to make their installations accessible in a variety of ways, despite the denser content or messages. For example, artist Matthew Biederman presents a project that repurposes the game ‘Simon Says’ to explore, with humor and insight, the mechanisms of public surveillance. Using AI and computer vision, the work stages a system that observes, interprets, and directs the actions of the audience, making visible the power dynamics at work in our digital environments. 

Participants are invited to follow simple instructions. Each posture performed becomes both an act of individuality and a negation of identity in a digitally mediated environment. The device places the body at the center of a game of control, between autonomy and algorithmic injunction.

view of a light-driven installation in the public space

Labyrinthe by students from UQAM’s School of Visual and Media Arts

project info:

name: MUTEK | @mutekmontreal

founder and general director: Alain Mongeau

location: Quartier des Spectacles in Montreal, Canada

dates: August 19th and 24th, 2025

circuit: Village Numérique | @village.numerique

executive producer: Mikaël Frascadore

dates: August 14th to 28th, 2025

photography: Tannaz Shirazi | @natourstudio

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Take a look at this curated selection of fascinating exhibitions and installations submitted by designboom guest readers from around the world. These projects showcase a wide range of creativity, from augmented reality and highly performative installations to digital art and thoughtful architectural exhibitions.

Powered by Our Global creative Community

designboom’s guest reader submissions give architects, designers, and makers a platform to share their projects with a vast international audience. This initiative fosters an open, inclusive dialogue within the global creative community.

Every submission receives an article on our readers’ page, with standout projects selected by our editorial team for broader promotion. With millions of monthly readers, it’s a unique opportunity to gain global visibility. Submit your project today!

Cloud’s Memoir by Black Void (main image also)

name: Cloud’s Memoir
artist: Black Void

host: Climate Ring, Yicang Art Museum, SWISSNEX

producer, writer, director: Cai Yixuan

deputy director: Qu Manning

actor: Wang Bingxu

visual director: Qu Manning

light design: Yin Tinglan

multi-media: Wang Yuanyuan

sound design: Marco Bidin, Zhou Tiange

cloud technology: SmokeGENIE

cinematography: Xie Jinchao

editing: Cai Yixuan, Wang Yuanyuan, Zhou Tairong (Chowchow)

logistics coordination: Xiao Yuhan

Black Void presents Cloud’s Memoir, a multimedia stage installation that merges poetic narrative with environmental data systems to explore how Earth’s atmosphere is shaped by historical and contemporary forces. It premiered at the Climate Ring in Yicang Art Museum and hosted by Swissnex. The work takes the form of a poetic monologue delivered from the perspective of a cloud. Functioning as a fragmented historian, the cloud reflects on the planetary atmosphere as a record shaped by natural disasters, industrial development, war, and global economic structures.

Crafting Atmosphere by MATERIA + Gustavo Carmona

exhibition: Crafting Atmosphere
designer: MATERIA + Gustavo Carmona

curator: European Cultural Centre

venue: Palazzo Mora, Venice

dates: May 5 – November 23, 2025

photography: Patricia Parinejad

sponsors: Zordan, Arozarena y Páramo, Predecon, Factor Eficiencia, Poesía Glass Studio, Kendu, Cristal + Diseño, Asintelix

In an exploration of architecture’s emotional and cultural dimensions, Mexican studio MATERIA + Gustavo Carmona presents ‘Crafting Atmosphere’ at Palazzo Mora, Venice. This exhibition, part of the European Cultural Centre’s ‘Time Space Existence’ exhibition during Venice Architecture Biennale 2025, serves as an immersive spatial narrative, distilling the firm’s design ethos into a powerful experience. It is a meditation on how architecture can transcend mere form and function, inviting visitors to engage with space as a layered and deeply felt construct.

Pop My Bubble by Pujarini Ghost

name: Pop My Bubble
designer: Pujarini Ghosh

photographer: Ayush Soni

Pop My Bubble is an augmented reality installation that explores the construction and deconstruction of identity through algorithmic content curation. Developed by creative technologist and artist Pujarini Ghosh, the work presents an immersive digital environment composed of visual fragments drawn from her social-media feed. As users interact with the AR-rendered space by popping virtual bubbles, the projections immediately reconfigure, illustrating the fluid and responsive nature of identity in algorithmically filtered spaces.

Function Is Art: Exhibition Design for ‘The Extended Art-chitecture’ by JXY Studio

name: Function Is Art: Exhibition Design for ‘The Extended Art-chitecture’

architect: JXY Studio

design team: Jiaxun Xu, and Yue Xu

exhibition: The Extended Art-chitecture 

dates: April 7th – May 7th, 2025

curator: Guoqing Yi

venue: North Gallery, SCUT School of Architecture

location: Guangzhou, China

JXY Studio presents Function Is Art: Exhibition Design for ‘The Extended Art-chitecture’, held in the North Gallery of SCUT School of Architecture in Guangzhou, China. The exhibition showcases recent interdisciplinary works of design and art by alumni across experimental architecture, art installation, and conceptual furniture. Through a calibrated interplay of visual perception, bodily scale, and curatorial logic, the design invites exploration and subtly choreographs the viewer’s experience, offering a spatial metaphor for the exhibition’s intellectual framework. Five regular octagonal structures each define a distinct experiential field. These modules mediate between the architectural space of the gallery and the individual exhibits, forming perceptual and spatial transitions while linking together along a continuous circulation path.

The AirMax Table by Nigel VMU

name: The AirMax Table
designer: Nigel VMU

producer: Something Made Lab

photographer: Aaron Watson-McNab 

Nigel VMU transforms Nike’s Air Sunder into a brutalist table for Offspring, blending sneaker culture, 90s digital nostalgia, and concrete craftsmanship into a functional artwork that redefines how we experience retail, memory, and design. The sculptural installation, the AirMax Table, is an ode to 90s digital culture, created in celebration of the re-release of the iconic model – part of the bold, nostalgic Hi-Lighter Pack. The work draws inspiration from the 1990s’ neon-coded optimism to form a hybrid artwork and furniture piece that bridges the digital past and the physical present.

Zero Meter Above Sea Level 20000 by Ryo Yamada

name: Zero Meter Above Sea Level 20000
designer: Ryo Yamada

location: Edinburgh, Scotland

venue: Summerhall Arts ‘War Memorial Gallery’

dates: June 26th – July 6th, 2025

Ryo Yamada’s Zero Meter Above Sea Level 20000 is a site-specific installation situated in the War Memorial Gallery at Summerhall Arts, Edinburgh. The work models the projected sea level in this specific location 19,980 years into the future, assuming a continued trajectory of global sea-level rise. With ongoing climate-induced sea-level rise, currently estimated at approximately 0.5 meters globally over the next century, the piece extrapolates this trend to visualize a time when the sea may reach the current elevation of the gallery site.

Load gallery, Barcelona, Spain

name: Load gallery
founder and CEO: Alex Simorré

location: Load gallery, Carrer Llull 134, Barcelona, Spain

Load Gallery, located in Barcelona, is a space for the exhibition of digital and hybrid artworks, utilizing advanced audiovisual systems to support varied formats of artistic expression. The gallery features five panoramic LED screens positioned along the street-facing facade, ensuring continuous visibility. Inside, the Round Room serves as a dedicated immersive environment with four curved screens arranged in a circular layout. Inspired by organic geometries, the room is optimized for 360-degree digital content. Both the visual and acoustic components of the gallery are engineered for consistency across a wide range of digital media formats.

The post curated journey through exhibitions and installations by designboom guest readers appeared first on designboom | architecture & design magazine.

Yuri Suzuki introduces UTOOTO, a sonic interactive installation that the viewers collectively build using the modular sound parts onsite. On view at the Camden Arts Projects in London between August 7th and October 5th, 2025, the structure is made up of connected sections, with the white pipes forming a network for the colored horns at differing heights. Some horns face upward, some downward, and others face sideways, but all of the pipes are joined using connector pieces, allowing the installation to have many branches extending in different directions. The design then uses a modular system, allowing it to be assembled and altered in parts, depending on the space.

In Yuri Suzuki’s interactive installation, visitors use a set of pipes, horns, and easy-to-use tools to reconfigure the pavilion-looking structure. They can create and change the pathways of the horns, and in return, they alter the travel and echo of the sounds. The artist, who is well-known for his use of vibrant and interactive horns in his artistic practice and installations, says that the artwork serves as an acoustic device that underlines a collective play through the viewers’ participation. UTOOTO’s exhibition at the Camden Arts Projects follows after its showcasing at the Design Saint Etienne and as part of another exhibition titled Echoes of Nature.

all images courtesy of Yuri Suzuki | photos by Deniz Guzel, unless stated otherwise

UTOOTO lets visitors speak into horns and listen to them, too

Inside the Camden Arts Projects in London, visitors can walk among Yuri Suzuki’s interactive installation, speak into a horn, and listen to sounds from other horns. The arrangement of UTOTO at different heights allows people of different ages and heights to take part easily. Some horns are positioned near the ground level, while others are high above, requiring sound to travel vertically through the system. This vertical design gives the structure a tower-like shape that fills much of the space in the hall, or in any space it inhabits.

The connectors are designed to hold the pipes firmly while still allowing them to be taken apart for transport or reassembly, while the materials used appear to include rigid PVC for the molded horns and pipes. The artist says that UTOTO evokes the dreamy state of dozing off as well as the sacred Okinawan phrase ‘utouto’, which is used in prayer. Its design draws from utopian architectural visions, and Yuri Suzuki says that it particularly sources the interactive installation’s influences from Walt Disney’s original plan for EPCOT (Experimental Prototype Community of Tomorrow). In a similar spirit, then, UTOOTO encourages visitors to contribute building the sonic architecture, making them the co-creators of the temporary sound art inside the Camden Arts Projects.

Yuri Suzuki introduces UTOOTO, a sonic interactive installation that the viewers collectively build

the artwork is on view at the Camden Arts Projects in London between August 7th and October 5th, 2025

the structure is made up of connected sections, with the white pipes forming a network of colored horns

some horns face upward, some downward, and others face sideways

all of the pipes are joined using connector pieces, allowing the installation to have many branches

the design then uses a modular system | from here, all photos by Chris Kidall

visitors use a set of pipes, horns, and easy-to-use tools to reconfigure the pavilion-looking structure

visitors can create and change the pathways of the horns, and in return, they alter the travel and echo of the sounds

visitors can walk among the structure, speak into a horn, and listen to sounds from other horns

project info:

name: UTOOTO

artist: Yuri Suzuki | @yurisuzukilondon

location: Camden Arts Projects | @camdenarts176

address: 176 Prince of Wales Road, London, NW5 3PT

dates: August 7th and October 5th, 2025

photography: Deniz Guzel, Chris Kidall | @deniz_gps, @kaaark

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In an exploration of architecture’s emotional and cultural dimensions, Mexican studio MATERIA + Gustavo Carmona presents ‘Crafting Atmosphere’ at Palazzo Mora, Venice. This exhibition, part of the European Cultural Centre’s ‘Time Space Existence’ exhibition during Venice Architecture Biennale 2025, serves as an immersive spatial narrative, distilling the firm’s design ethos into a powerful experience. It is a meditation on how architecture can transcend mere form and function, inviting visitors to engage with space as a layered and deeply felt construct.

all images by Patricia Parinejad unless stated otherwise

The ‘Crafting Atmosphere’ exhibition, presented by MATERIA + Gustavo Carmona, is structured around three core design strategies, each articulated on a distinct wall to form a conceptual triptych: ‘Transitional Thresholds’, ‘Subtractive Light’, and ‘Transformative Skins’. ‘Transitional Thresholds’ explores the power of liminal spaces – the portals and pauses that create temporal resonance. ‘Subtractive Light’ emphasizes the sculpting of space through voids, allowing light to become a primary material that frames and intensifies experience. Finally, ‘Transformative Skins’ showcases envelope systems where a single tectonic unit becomes a modulating surface, expressing both identity and permeability.

MATERIA + gustavo carmona narrates emotion of architecture in venice exhibition

emotional and cultural layers of architecture

A luminous line encircles the installation, binding the diverse elements into a continuous perceptual loop. On the floor, tactile models invites slow, deliberate observation, while a suspended linen canvas above unfolds a constellation of architectural drawings and sketches. This vertical archive of thought and process – part exhibition, part spatial poem – affirms architecture as a cultural act: a vessel for memory, ritual, and transformation. ‘Crafting Atmosphere’ is a counterpoint to the relentless pursuit of efficiency and abstraction in contemporary architecture. It is a powerful call for presence, for sensual intelligence, and for the creation of spaces that remember and resonate long after they have been experienced.

The ‘Crafting Atmosphere’ exhibition, presented by MATERIA + Gustavo Carmona as part of  the European Cultural Centre’s ‘Time Space Existence’ exhibition, can be viewed at Palazzo Mora from May 5 – November 23, 2025 during Venice Architecture Biennale 2025.

it is part of the European Cultural Centre’s ‘Time Space Existence’ during Venice Architecture Biennale 2025

visitors are invited to engage with space as a layered and deeply felt construct

the exhibition is structured around three core design strategies

image by MATERIA + Gustavo Carmona

drawings by MATERIA + Gustavo Carmona

Crafting Atmosphere is a counterpoint to the relentless pursuit of efficiency and abstraction in architecture

drawings by MATERIA + Gustavo Carmona

drawings by MATERIA + Gustavo Carmona

project info:

exhibition: Crafting Atmosphere
designer: MATERIA + Gustavo Carmona | @_materia

curator: European Cultural Centre

venue: Palazzo Mora, Venice

dates: May 5 – November 23, 2025

photography: Patricia Parinejad

sponsors: Zordan, Arozarena y Páramo, Predecon, Factor Eficiencia, Poesía Glass Studio, Kendu, Cristal + Diseño, Asintelix

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.

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Louis Vuitton: Visionary Journeys is now open at the Nakanoshima Museum of Art in Osaka, Japan. Designed by Shohei Shigematsu of OMA, the exhibition occupies 2,200 square meters of the museum and is organized into eleven thematic galleries. These are grouped into four interconnected zones — history, codes, process behind the craft, and cultural dialogue — that together express the enduring identity of the House.

The exhibition design celebrates spatial variety, with each room conceived as a unique set within a continuous narrative. Shigematsu explains that the scenography aims to translate Louis Vuitton’s legacy into an architectural journey, one that goes beyond objects to explore ideas. Osaka’s long-standing role as a center of trade and craftsmanship in Japan underscores the choice of venue, bringing a contextual layer to the Maison’s exploration of heritage and innovation.

the exhibition spans 2,200 square meters at the Nakanoshima Museum of Art | images courtesy Louis Vuitton

Monumental Interventions in the Museum Atrium

Visitors to Louis Vuitton: Visionary Journeys first encounter eight monumental lanterns, which the team at OMA suspends from the Osaka museum’s five-story atrium. Each 12.5-meter-tall column stacks trunk-like forms wrapped in Monogram washi paper, arranged in six unique configurations. The lanterns emphasize the verticality of the atrium while casting a soft, diffuse glow, creating a welcoming transition into the exhibition.

Beyond the atrium, the entrance gallery is anchored by a hemispherical installation composed of 138 authentic Louis Vuitton trunks. Mirrored by the glass floor below, the self-supporting structure forms a complete globe, referencing themes of exploration and global exchange. The trunks’ structural integrity alone holds the piece together, exemplifying the balance of strength and lightness that defines the House’s craftsmanship.

a hemispherical globe is built from 138 Louis Vuitton trunks

a celebration of Japanese influences

Speaking to its context in Osaka, Louis Vuitton and OMA prominently feature Japan as both subject and context throughout the exhibition. A dedicated gallery, Louis Vuitton and Japan, examines artistic and cultural exchanges between the brand and the country. The display spans centuries, from traditional garments and samurai armor to contemporary pop culture, all arranged on modular platforms evocative of tatami mats.

Other rooms trace the evolution of Louis Vuitton’s creative codes. In the Origins room, a hand-woven bamboo armature carries the timeline of the Maison’s six historic eras, reflecting a shared respect for craftsmanship. Two galleries are devoted to the Monogram canvas, charting its development from early influences, including Japanese motifs, to its use in contemporary designs.

hand-woven bamboo structures and archival materials highlight LV’s craftsmanship legacy

The Expeditions gallery immerses visitors inside a full-scale inflatable hot-air balloon that doubles as a display structure and projection surface. In the Materials gallery, a dense arrangement of foundational components is presented in a way that appears weightless, giving visitors the sense of peering into an infinite archive. Atelier Rarex, a selection of exceptional pieces, is displayed along a boulevard backdrop modeled on the mansard roofline of Louis Vuitton’s Paris flagship.

The Workshop gallery incorporates arched windows, sawtooth roofs, and workbenches modeled after the House’s Asnières atelier, where craftspeople conduct live demonstrations. Mirrored ‘skylights’ allow these processes to be observed from anywhere in the room. Meanwhile, the Testing gallery introduces visitors to the machinery and protocols behind product durability, bringing the brand’s laboratory into the museum context.

In the Collaborations gallery, four mirrored domes house works by artists and brands such as Stephen Sprouse, Supreme, Yayoi Kusama, and Takashi Murakami. The reflections create a kaleidoscopic environment that reconstitutes each partnership as part of Louis Vuitton’s broader creative ecosystem.

an inflatable hot-air balloon and mirrored displays offer immersive environments for storytelling

a gallery dedicated to Japan explores the brand’s cultural exchanges using tatami-inspired platforms

live workshops and testing galleries recreate the Asnières atelier within the museum

Shohei Shigematsu organizes four zones focused on history, craft, codes, and cultural dialogue

mirrored domes reflect key collaborations in a kaleidoscopic environment of contemporary design

project info:

name: Visionary Journeys

designer: Louis Vuitton | @louisvuitton

exhibition design: Shohei Shigematsu / OMA | @shohei_shigematsu @omanewyork
museum: Nakanoshima Museum of Art | @nakkaart2022

location: Osaka, Japan

dates: July 15th — September 17th, 2025

photography: courtesy Louis Vuitton

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The September 2025 edition of Maison&Objet is set to present a new generation of designers, promising a bold and fresh perspective on the future of interiors and lifestyle. Starting parallel with Paris Design Week on September 4, the five day day event brings together a curated selection of studios and creators from varied backgrounds. A pivotal highlight is the Design District, a dynamic hub artfully directed by the acclaimed Hall Haus collective, explicitly dedicated to fostering these new voices. This collaboration sets the stage for a grand showcase of emerging talent, envisioned through the distinct lens of the collective.

image ©Marion Gomez | all images courtesy of Maison&Objet

HALL HAUS’ MANIFESTO FOR CREATIVE EXPLORATION

Since its inception in 1994, Maison&Objet has solidified its position as an indispensable barometer for the international decor, design, and lifestyle community. With two annual exhibitions and Paris Design Week in September, it consistently provides a platform for innovation and industry evolution. This edition‘s intensified focus on the Design District is profoundly strengthened by the input of Hall Haus.

The collective is taking the lead in reimagining the visual identity of the sector, aiming to foster new narratives within the design sphere. They draw direct inspiration from urban energy and sport aesthetics, translating it into dynamic graphics and clear, engaging signage that guides visitors through this exciting landscape. As part of this experience, Hall Haus also unveils a limited-edition furniture collection that reflects their signature blend of functionality, sustainable commitment, and cultural richness.

Mini Bench by Hall Haus

FLAGSHIP PROGRAMS PROPEL NEW DESIGN VOICES

Besides the reimagined visual identity by Hall Haus, the Design District shines with three impactful flagship programs – the Rising Talent Awards, Future On Stage, and the Factory spaces. These initiatives collectively propel the industry’s next wave of creativity, forming a robust ecosystem designed to foster fresh voices and groundbreaking ideas within Maison&Objet’s vision for the global design sphere.

The Rising Talent Awards turn their gaze to the German avant-garde, spotlighting a new generation with a clear nod to their nation’s rich Bauhaus and Werkbund roots. Visitors have the opportunity to discover a diverse spectrum of compelling work, ranging from groundbreaking explorations in biotech and 3D-printed materials to deeply sensitive and experimental approaches to design. The showcase also highlights creators who are redefining sustainability through resource-sharing and championing modular and circular design, alongside those crafting simple, intuitive solutions for everyday living.

Biocement by Friedrich Gerlach and Julia Huhnholz

For its 6th edition, Future On Stage continues to serve as a vital launchpad for young, creative, and committed entrepreneurs. An esteemed industry jury has carefully selected three compelling winners, each set to gain significant visibility and dedicated support within the Design District. Among them is Drobe (Oslo), founded by Milla Lack, revolutionizing urban travel with a suitcase that unfolds into a wardrobe. Next, Yüssée (Paris), a sensory brand by Yuan Yuan and Cédric Guennoc, captivates with tasting boxes inspired by the five senses and traditional Chinese seasons. Completing the trio is Hilo (Monaco), founded by Adeline Michelotti, who is redefining furniture with modular, drill-free solutions perfectly suited for contemporary urban living spaces.

Suitcase by Drobe

Finally, the dynamic Factory spaces, spread across several halls, underscore the vibrancy of creative entrepreneurship by showcasing over 40 newly launched brands. Visitors can explore diverse innovations, from themed areas dedicated to refined table & gourmet experiences to inventive playful gifting concepts. Building on a 15-year legacy,  Paris Design Week Factory extends its reach by offering six former participants a turnkey B2B space within the Villepinte exhibition center’s Design District, while the special spot reserved for ‘La Ville de Paris’ highlights local talents bearing the prestigious ‘Fabriqué à Paris’ label.

M&O Factory in September 2024 | image ©Anne-Emmanuelle Thion

image ©Katharina Meixner

Duality

M&O Factory in September 2024 | image ©Anne-Emmanuelle-Thion

project info: 

name: Design District

event: Maison&Objet | @maisonetobjet

artistic direction: Hall Haus | @hall.haus

location: Paris, France

dates: September 4-8, 2025

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Artist Tony Tao Li creates Blind Lucid Umbrella (BLU), an art installation that explores the meanings of blue light using LED modules. The artwork was part of the exhibition ARRHYTHMIA at Centrum Berlin, which ran between June 27th and 29th, 2025. The theme was inspired by the concept of Rhythmanalysis by the philosopher Henri Lefebvre, which is about understanding life through patterns and rhythms. The group show featured visual art and experimental sound, and BLU fit by expressing the rhythm and tension brought about by the use of digital devices.

The installation Blind Lucid Umbrella (BLU) uses 1-unit and 2-unit LED modules wired in parallel, metal framing, socket cables, and inlet switches to realize the artwork and lighting. It also comes with 189 laser-cut and bent metal components, over 7,300 cm² of sandblasted glass, and more than 1,000 screws, hexagon nuts, flat washers, and nickel-plated spacers. The artist designed the art piece to be modular, allowing for alternate arrangements of its glowing elements so that the installation can be changed and transported for and into different, future exhibitions.

all images courtesy of Tony Tao Li

‘BLU’ captures this shift in the color’s meaning

The installation Blind Lucid Umbrella was conceived as a vertical composition, but artist Tony Tao Li says that the system allows for more linear, curved, stacked, or deconstructed configurations, requiring only minor adjustments to the supporting wall components and cabling. From an artistic lens, BLU is an installation that uses the color blue to reflect on how technology, emotion, and culture are connected, and how even something as simple as a color can carry deep and shifting meaning in our digital age.

The work draws from the turn-of-the-century fascination with glass, light, and the pervasive glow of blue, a hue that once symbolized innovation, trust, and a techno-utopian future. There was a period when blue became a dominant filter in visual culture: from the branding of Nokia, Sony, and Motorola, to the glass facades of skyscrapers to the sleek interfaces of early personal computers. 

Tony Tao Li creates Blind Lucid Umbrella (BLU), an art installation that explores the meanings of blue light

Cool shade symbolizes constant digital exposure

‘Blue was synonymous with a frictionless, hyperconnected digital dawn,’ says the artist. ‘Yet over time, its identity shifted. What was once an emblem of progress and connectivity became entangled with corporate dominance and digital fatigue.’ These days, the color is related to big tech companies like Facebook, as well as the digital world through the use of blue light coming off of screens. 

It now also symbolizes corporate power, overstimulation, and the negative effects of constant digital exposure. The installation BLU captures this shift in meaning by creating a glowing, immersive space that encourages visitors to think about how this color affects their emotions, memories, and experiences in the modern world.

detailed view of the sandblasted glass

there aremore than 1,000 screws, hexagon nuts, flat washers, and nickel-plated spacers used in the piece

detailed view from the side

the artwork is modular to allow for alternate arrangements

the work draws from the fascination with the glow of blue

view of the blue light

the system allows for more linear, curved, stacked, or deconstructed configurations

the installation reflects on how technology, emotion, and culture are connected

BLU captures this shift in the color’s meaning

project info:

name: Blind Lucid Umbrella (BLU)

artist: Tony Tao Li | @tonytaoli

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: matthew burgos | designboom

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