The MoMA Design Store in Soho, New York, has reopened following a renovation by Brooklyn-based Peterson Rich Office. Built in 1884, the cast iron and masonry building has been carefully restored to its original footprint, a move that re-centers circulation and opens views into the interior from Spring Street. The updated store creates a contemporary new framework which celebrates the 19th-century ‘messiness’ of its historic home at 81 Spring Street.

designboom attended a preview ahead of the public opening on September 27th, 2025, where lead architects Miriam Peterson and Nathan Rich spoke about the design process and goals for the project.

‘We got a wonderful brief from MoMA,’ says Nathan Rich. ‘The first goal was to create a meaningful dialogue between the Design Store and this historic building. The second was to connect with the public, literally bringing the street in. And the third was to showcase the products themselves in special ways.‘

windows reopened to Spring Street create a stronger dialogue with Soho | images © Eric Petschek

historic details revealed

The MoMA Design Store renovation emphasizes the building’s authentic details, exposing cast iron columns, brickwork, and even portions of the original tin ceiling. Layers of later alterations were stripped back to allow the historic textures to read clearly against new interventions.

‘What we love about working in older buildings is peeling back the layers,’ explains Miriam Peterson. ‘The ceiling had been dropped, columns were covered, and the facade was blocked off. One of the first things we did was reveal the brick and arches and look at archival drawings to relocate the entrance to its original center position.’

The facade, once painted a muddy brown color called Afternoon Tea, has been restored to black with approval from the Landmarks Commission. ‘That subtle change reframed the interior from the street,’ Peterson adds. ‘It creates a stronger frame through which to view the store, while resonating with the masonry context of the neighborhood.‘

perforated steel shelving in MoMA’s signature blue brings a flexible backdrop for products

a contemporary framework

Inside the MoMA Design Store, the 6,600-square-foot space is organized through a system of flexible casework and display structures. Perforated steel shelving finished in MoMA’s signature blue, vitrines, and movable islands establish rhythm and variety, while casters allow the lower level to be cleared for talks and gatherings. A new perimeter shelving system by Rareraw, a Korean family business making its U.S. debut, integrates lighting into a versatile framework.

The architects emphasized adaptability and narrative potential. Nathan Rich describes the approach: ‘Everything here was made by brilliant creators. The store itself should help tell those stories — signage, displays, and layout all work to feature the products in meaningful ways.‘

historic cast iron and masonry details are revealed throughout the space

connecting store, street, and museum

The reopened windows and re-centered entry reinforce the link between the store and the streetscape, creating transparency and drawing the public in. This connection extends to the north wall, now home to a rotating Modern Mural program. The opening installation, LOVE NYC by Nina Chanel Abney, echoes Soho’s urban fabric while referencing MoMA’s collection, turning the wall into both an interior focal point and a street-facing canvas.

‘The mural announces from the moment you walk in that this is MoMA,’ Peterson says. ‘It frames the threshold between street and store, reinforcing the connection between the Design Store and the museum.’

The renovation balances a reverence for the building’s industrial heritage with the precision required of a retail environment. Exposed tin ceilings and rough masonry contrast with crisp steel shelving and controlled lighting. Peterson notes: ‘We embraced the messiness of the old building and saw it as part of the palette that directly engages with the new products.‘

the north wall features Nina Chanel Abney’s Love NYC mural

The news comes shortly after the opening of MoMA’s bookstore in Seoul. Residents and visitors in the Korean city will find the new space in the Dosan Park area of Gangnam, the fast-growing and now-iconic neighborhood south of the Han River. See designboom’s coverage here.

project info:

name: MoMA Design Store | @momadesignstore

renovation architect: Peterson Rich Office | @peterson_rich_office

location: 81 Spring Street, New York, NY

client: Museum of Modern Art (MoMA) | @themuseumofmodernart

mural artist: Nina Chanel Abney | @ninachanel

completion: September 27th, 2025

photography: © Eric Petschek | @cb

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Carolina Castiglioni, founder of high-end women’s and accessories label Plan C, expands the presence of her brand in Milan with the opening of Plan C Frame, a retail-meets-culture concept. The project introduces a layered experience where visitors encounter Plan C’s signature womenswear and also jewelry, homeware, printed matter, and art exhibitions under one roof.

At the heart of the space is a bold red spiral staircase that leads to the Reading Room, a curated corner that gathers contemporary magazines across fashion, design, art, and culture. 

all images via @plancframe

Collaborations and Creativity Take Center Stage

The opening of Plan C Frame concept store also marks new collaborations. Jewelry brand Aliita, founded a decade ago, inaugurates its first dedicated retail space inside Frame, offering an intimate environment for its colorful and playful designs. Meanwhile, Plan C Silos, a homeware capsule developed with Belgian design company Serax, makes its debut exclusively at the Milan venue. The series of vases and candles draws inspiration from industrial storage structures, translating Plan C’s bold language into the domestic sphere.

Art anchors the launch as well, with the debut exhibition showcasing the work of illustrator and visual storyteller Christoph Niemann. Known for his witty ink drawings and covers for The New Yorker, Niemann features original works, prints, and editions that embody his unique way of turning everyday moments into reflections on perception and meaning.

Jewelry brand Aliita inaugurates its first dedicated retail space inside Frame

A New Chapter in Material and Color Experimentation

Plan C, established in 2018 by Carolina Castiglioni after a decade of developing projects at her family’s house, Marni, is defined by its distinctive play of masculine and feminine codes, expressive color, and experimentation with materials. Headquartered in the historic site of her great-grandmother’s fur atelier, the brand creates long-lasting garments designed for women with a clear and independent sense of identity. With distribution across leading international stores and flagships in Tokyo, Plan C now establishes Frame in Milan as a platform that extends beyond clothing.

at the heart of the space is a bold red spiral staircase

the project introduces a layered experience

this curated corner gathers contemporary magazines

the debut exhibition showcases the work of illustrator and visual storyteller Christoph Niemann

Plan C Silos is a homeware capsule

developed with Belgian design company Serax

the series of vases and candles draws inspiration from industrial storage structures

project info:

name: Plan C Frame | @plancframe
location: Milan, Italy 

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Twelve years after the boutique’s first transformation in Cancún, the Louis Vuitton store presents a new facade that elevates its identity through the expressive possibilities of precast concrete. The design by MATERIA + Gustavo Carmona reinterprets the brand’s iconic flower motif as a sculpted relief that shifts constantly with the play of light and shadow, turning the exterior into a dynamic, sensorial surface. At the heart of the design is a single modular unit, carefully conceived to act both as a structural element and as a vessel for light. When repeated across the facade, this module generates a continuous and vibrant skin that merges precision with rhythm.

all images by Jaime Navarro

Light and Shadow Animate Sculpted Facade of Louis Vuitton store

The composition for Louis Vuitton Cancún boutique by studio MATERIA + Gustavo Carmona creates a strong collective identity while transcending the individuality of each component. The facade recalls the memory of the earlier wooden intervention while advancing into a new material language. More than a storefront, it is an architectural experience that demonstrates how concrete can embody both emotion and detail. By engaging visitors through texture, depth, and atmosphere, the design establishes the facade not only as an element of branding but also as a living presence in the urban fabric of Cancún.

Louis Vuitton Cancún presents a new precast concrete facade

the design reinterprets the brand’s iconic flower motif

sculpted reliefs shift with light and shadow across the surface

a single modular unit forms the basis of the composition

repetition generates a continuous, rhythmic skin

dynamic textures animate the boutique throughout the day

depth and shadow transform the surface into a sensory experience

rhythm and variation emerge from repetition of the unit

the boutique’s identity is expressed through modular form

project info:

name: Louis Vuitton at La Isla
architect: MATERIA + Gustavo Carmona | @_materia

location: Cancún, Mexico

photographer: Jaime Navarro | @jaimenavarrophotography

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Random Studio takes over the design of a permanent retail space within Zara’s largest store, a five-floor building in Rotterdam, the Netherlands. Occupying a significant portion of the first floor, the project establishes a hybrid environment defined by spatial layering and material contrast.

A backlit metallic grid introduces a threshold between the newly created ‘quarry-like’ space and the rest of the store. Within this boundary, geometric blocks and muted natural tones define product display zones, unified by overhead light panels that provide consistent illumination.

all images courtesy of Random Studio

Contrasting Material Palettes Divide spaces in Zara Rotterdam

The design team at Random Studio distinguishes the space between two main collections through material palettes. The urban collection is presented with articulated fixtures incorporating glass, natural stone, and stainless steel. In contrast, the sports collection is framed by black steel, rubber, and industrial-style elements. A dedicated social area provides visitors with seating in two elevated zones. This space, bright and restrained in expression, functions as a pause point within the larger retail environment.

Random Studio designs a retail interior within Zara’s largest global store

a backlit metallic grid marks the boundary of the redesigned zone

the grid creates a visual threshold between store and installation

overhead light panels unify the interior with even illumination

muted natural tones define the material palette

geometric blocks organize the display areas

product displays are structured through spatial divisions

raised seating zones create levels within the open space

the social area is bright and minimal in design

spatial layering and contrast define the overall design approach

industrial-style fixtures highlight the sports-focused displays

contrasting material palettes define different retail zones

project info:

name: A retail space for the world’s biggest Zara in Rotterdam

architect: Random Studio | @random_studio

design team: Marina Bonet, Alex Tintea, Jungmin Bang, Charles Breton, Lucas Sabas

location: Rotterdam, the Netherlands

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Saint Laurent has renovated its boutique in Milan with works by local artists and designers, including Gaetano Pesce and Gio Ponti. Reopening on September 20th, 2025, the retail store at Via Montenapoleone, 8, introduces a third floor for the menswear collection, which was not present in the previous interiors. Colors, materials, and textures rooted in Parisian and Milanese designs harmonize inside the space. The Saint Laurent collections sit atop open shelves made of marble sourced from Italy, and the marble floor retains its gritty texture, complementing the industrial-sized carpets whose designs are inspired by pixelated images using threads and the paintings of Monet.

Vintage pieces occupy the same space as contemporary furniture and materials, the Maison’s hope to evoke modern classic design. Chairs from Italian architects Marcello Piacentini and Gio Ponti sit next to cherry wood and resin coffee tables made by the Austrian designer, Laurids Gallée, as well as the bubble-shaped glass coffee table shaped by the artisans in Murano, Venice. Inside the Saint Laurent boutique in Milan, there are pieces and furniture by around 70 revered and historic artists and designers, including Vincenzo De Cotiis, Marco Zanuso, Aldo Tura, Osvaldo Borsani, Carlo Scarpa, Joe Colombo, Paolo Buffa, Roberto Iera, and Giovanni Offredi, among others.

image © designboom

Materials from hand-shaped ceramic to eucalyptus wood

The Saint Laurent boutique in Milan unveils three renovated floors: the first two are for the women’s collections, while the last one, the most recent, is dedicated to menswear. Art, fashion, and design meet in the same space. Visitors walk around and find Romanesque sculptures, such as the Antinous bust from the 1800s, spread across the first floor, adding a vintage touch to the seasonal collections by the Maison as well as the shifting textures of the walls and flooring. While the entire boutique feels like an open space, the use of different materials, from marble and ceramic to iron, separates the sections with a unifying theme of earthiness and opulence.

Signature design elements come through inside the Saint Laurent boutique in Milan. The stairs, a staple in the Maison’s master stores, are entirely made of polished and refined eucalyptus wood sourced from Italy, and the large circular mirrors, another classic fixture in the other boutiques, expand the already landscape-esque breadth of the store. On the second floor, one section dials down the use of light materials from the other rooms, as the walls, gleamingly reflecting the lights, are forged from raw iron. Here, there is another open shelf, but this time, it is made of hand-shaped ceramic that reinstates the Maison’s link to the city of Marrakech.

artworks by Ugo Mulas and Irving Penn, as well as a portrait of Lucio Fontana, adorn the walls | image © designboom

Fabrics recycled from the maison’s previous collections

The intended concept of the Saint Laurent boutique in Milan is an Italian palazzo that is open to everyone. The designers’ furniture is placed to be used and interacted with, and the sudden appearances of raw wood, from tables and counters to panels and shelves, allow for a reminder that the shop is not just a store. There is also a hint of futurism in the interiors, mainly brought about by the use of large square-shaped lights on the ceiling, lightly dimmed to allow the warm backlights coming from the marble shelves to illuminate the rest of the space.

In a few of the shelves, the background shows backlit panels made of onyx, the material that the Maison repurposed from its womenswear collections in 2024 and 2025. On the third floor, the home of menswear, there is a sofa wrapped with leather recycled from the winter collection of 2024. In the same area, the walls are made from the same marble used to construct the Duomo cathedral, a way for Saint Laurent to pay homage to the city of Milan through its renovated boutique. Across the floors, artworks by Ugo Mulas and Irving Penn, as well as a portrait of Lucio Fontana, adorn the walls, sealing the attempt of Saint Laurent to allow its boutique in Milan to become an open home. The retail store reopens to the public on September 20th, 2025.

colors and materials rooted in Parisian and Milanese designs harmonize inside the space | image © designboom

view of the chairs by Gio Ponti | image © designboom

the marble floor retains its gritty texture | image © designboom

the background is made of onyx, repurposed from the Maison’s womenswear collections | image © designboom

the use of wood evokes the sensation of an open home | image © designboom

visitors walk around and find Romanesque sculptures throughout the boutique | image © designboom

hand-shaped ceramic shelves foster the link of the Maison to Marrakech | image © designboom

the carpets designs are inspired by pixelated images using threads and Monet’s painting | image © designboom

the boutique reopens on September 20th, 2025 | image © designboom

project info:

maison: Saint Laurent | @ysl

location: Via Montenapoleone, 8, Milan, Italy

opening: September 20th, 2025

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Anagram Architects unveils 1200 square feet flagship store for ARKS, a lifestyle label based in Bandra West, Mumbai, translating its identity into a physical space. Conceived by Hindi cinema actor Ranbir Kapoor, the store features a restrained layout punctuated by bold red sculptural elements, including a sweeping display rod and a central bench that doubles as seating and focal point. Targeting a young, urban demographic, the space organizes circulation through a linear podium, concealed back-of-house zones, and a stage-like alcove for fitting rooms and a photo booth. 

all images courtesy of Anagram Architects

defined thresholds structure movement within the store

Set back from the street, the store, designed by Anagram Architects, is accessed through a metal gate and forecourt before ascending a short flight of steps to the entrance. Inside, the podium integrates the billing desk and product display, while the suspended red rod above anchors the visual rhythm of the interior. On one side, a veneer-paneled wall conceals service areas; on the other, the alcove for changing rooms is framed by drapery, a chandelier, and carpet, creating a contained zone within the open plan. The spatial sequencing reflects the India-based studio’s focus on guiding movement through subtle transitions rather than overt partitions.

the design translates the brand’s identity into a physical space

mirrored details and barrisol ceiling enhance spatial perception

The design adopts ARKS’ signature colors of red, black, and white. The exterior pairs a white bulkhead with black-tiled cladding and a red metal portal finished in ACP. Inside, neutral walls and flooring are punctuated by red accents on display elements, seating, and branding, while black hardware and tiles provide contrast. A Barrisol stretch ceiling conceals lighting to reduce visual clutter, with mirrored beam fascias used to counteract the low 7-foot height and extend the perception of space. The combination of these elements creates a structured retail environment that reflects the brand’s identity through material and form.

mirrored beam fascias reflect the Barrisol ceiling to heighten spatial perception

strategic red accents energize the muted palette

a sculptural red bench serves as a bold visual anchor

the sculptural red bench — designed for both seating and display

the contours of the bench

the material palette features ARKS’ signature colours: red, black, and white

the billing desk extends into a continuous podium; above it, a sweeping red rod anchors the merchandise display

the sweeping red display rod, with hangers stamped with the abstract red logomark

the toilet interior continues the red, black, and white palette, echoing ARKS’ brand identity

project info:

name: ARKS Flagship Store
designer: Anagram Architects

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waa (wearchitechanonymous) designs ERDOS Land, a 2,600-sqm factory store within the ERDOS headquarters complex on the outskirts of Ordos city, Inner Mongolia Autonomous Region. The project integrates retail, leisure, and tourism functions, housing all of the brand’s labels under one roof and accommodating up to 700 visitors per day during peak seasons. An additional 700 sqm of space supports a children’s play area, a café, and a tourist center.

The design approach is rooted in an exploration of how color shapes perception within spatial environments. Instead of modifying individual pigments, the project emphasizes the relationship between colors and their surroundings to shape perception. Pink surfaces and frames are selected to soften the retail environment and create optical vibrations that lighten the atmosphere while ensuring garments remain the focal point. A continuous pink ribbon-like rack runs through the space, doubling as a structural and organizational device: it supports task lighting for booths, provides wayfinding for visitors, and manages the visual scale of the merchandise.

all images courtesy of waa (wearchitechanonymous)

Looping shopping routes organize ERDOS Land factory store

Circulation guides the spatial organization by Studio waa (wearchitechanonymous). Four central islands structure the floor plan, allowing shopping routes to unfold as either a continuous loop or a set of interconnected figure-of-eight paths. Each island is dedicated to a specific garment type, including scarves, jumpers, accessories, and general wear. Along the perimeter, opposite booths host the brand’s five labels, separated by aggregate pillars that incorporate fitting rooms.

The children’s booth integrates play elements directly into the retail environment, with climbing structures, adapted garment rails, and feature chandeliers that double as supports. These devices extend the store’s broader emphasis on playfulness, embedding moments of interaction into the shopping experience. A seamless membrane ceiling unifies the entire space, controlling light levels, softening shadows, and enhancing garment displays. This contoured ceiling, combined with rhythmic lighting and carefully orchestrated color compositions, maintains visual clarity across the large-scale interior.

waa (wearchitechanonymous) completes ERDOS Land in Ordos

the factory store integrates retail, leisure, and tourism

the design explores how color shapes spatial perception

a pink ribbon-like rack runs through the store as a central device

optical effects create a lighter, more dynamic atmosphere

the children’s booth integrates climbing structures into retail

pink surfaces soften the retail environment and frame circulation

play devices embed moments of interaction within the store

color, circulation, and material strategies shape ERDOS Land’s design

a continuous membrane ceiling unifies the entire interior

project info:

name: ERDOS LAND
architect: waa (wearchitechanonymous) | @waa_wearchitechanonymous

location: Ordos, Inner Mongolia Autonomous Region

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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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Gentle Monster’s parent company, IICOMBINED, launches Haus Nowhere Seoul in Korea, marking the first architectural chapter of its long-term Future Retail vision. Conceived as ‘a space found nowhere,’ the venue merges art, design, and commerce into an experimental environment. Inside its multi-story building, visitors encounter Max Siedentopf’s More Is More, a surreal landscape of swelling plastic bags animated by a hyperreal elderly man; Sunshine, a monumental dachshund who drifts between fairytale scenes and futuristic transformations; and Nudake Teahouse, a kinetic, color-saturated lounge that transforms the ritual of tea into a sensory performance. Together with immersive brand spaces, from Gentle Monster’s monumental mechanical forms to Tamburins’ interactive perfume narratives, Haus Nowhere Seoul establishes a platform for exploration and discovery.

images via @hausnowhere, unless stated otherwise

art installations animate the retail environment

At the heart of the store’s opening on September 6th, 2025, Siedentopf’s More Is More features hundreds of black rubbish bags inflating and deflating in slow rhythm. Amid this swelling sea stands a towering animatronic figure of an elderly man, his eyes wandering curiously as he clutches a single golden bag. The work, presented simultaneously in Seoul, Shanghai, and Shenzhen locations of Haus Nowhere, reflects on value, discovery, and the overlooked moments of wonder hidden in everyday life.

Equally striking is Sunshine, a giant dachshund whose presence threads through multiple levels of Haus Nowhere Seoul. Introduced by Tamburins, the character first appears in a whimsical scene of afternoon slumber, rendered with tender details, dewy nose, soft paws, and gentle breaths, before re-emerging in a parallel universe clad in shining armor, recast as a futuristic warrior. Visitors can step into Sunshine’s world through an AI-powered Twin Look photo booth, where the dachshund mirrors their appearance in playful sticker-like portraits. 

Gentle Monster’s parent company, IICOMBINED, launches Haus Nowhere Seoul

Kinetic objects guide visitors inside Nudake Teahouse

Nudake Teahouse, located on the fifth floor of Haus Nowhere Seoul, transforms traditional tea drinking into a multi-sensory encounter. Kinetic objects appear to drift through the space, guiding visitors through an otherworldly environment rich in color contrasts, from yellow-green and deep purple to warm reds. The teahouse offers a refined lounge for pairing scented teas with desserts, alongside a curated gift shop that presents tea-inspired objects. By combining visual spectacle, scent, and taste, Nudake creates a temporal pause, expanding a familiar ritual into a surreal, immersive experience.

The multi-level building also hosts Gentle Monster’s 2025 Bold Collection, displayed within monumental mechanical structures that evoke speed and dynamism, and ATiiSSU’s second store, presenting its Tracker headwear line inspired by exploration. Nuflaat merges dining and design through sculptural tableware, offering a rhythm of objects both unfamiliar and refined.

By assembling installations, brand flagships, and experimental environments under one roof, Haus Nowhere Seoul positions itself as an open-ended cultural platform, part gallery, part store, and part dreamworld, where art and commerce fold into one another. 

the first architectural chapter of the company’s long-term Future Retail vision | image courtesy of Tamburins

conceived as ‘a space found nowhere’

the venue merges art, design, and commerce 

the character first appears in a whimsical scene of afternoon slumber

Tamburins’ interactive perfume narratives | image courtesy of Tamburins

Sunshine, a giant dachshund whose narrative threads through multiple levels of Haus Nowhere Seoul

More Is More features hundreds of black rubbish bags inflating and deflating | image courtesy of Max Siedentopf

Nudake Teahouse is located on the fifth floor of Haus Nowhere Seoul | image courtesy of Nudake

transforms traditional tea drinking into a multi-sensory encounter | image courtesy of Nudake

kinetic objects appear to drift through the space | image courtesy of Nudake

an otherworldly environment rich in color contrasts | image courtesy of Nudake

project info:

name: HAUS NOWHERE SEOUL | @hausnowhere

location: 433, Ttukseom-ro, Seongdong-gu, Seoul, Republic of Korea

client/owner: IICOMBINED, Gentle Monster | @gentlemonster

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Bottega Veneta opens a month-long pop-up at Harrods, London, celebrating half a century of its signature Intrecciato weave. The project, running until October 2nd, 2025, explores the brand’s craft vocabulary through space, weaving together product, architecture, and gesture into a retail environment that speaks to heritage and experimentation.

The installation introduces La Tavola, a new architectural concept modeled on the communal tables used in Bottega Veneta’s ateliers. Positioned as the centerpiece of the Harrods space, it functions as a workshop-like platform where visitors can engage with small leather goods, jewelry, and fragrances. A dedicated compartment highlights the construction of the Intrecciato technique, turning what is usually hidden labor into an object of study. Alongside, bespoke stationery and keepsakes curated exclusively for the pop-up are offered to clients.

images courtesy of Bottega Veneta

Interlocking Forms in Wood and Concrete complete the pop-up

The design of the pop-up store takes inspiration from weaving, with furniture and fixtures arranged in an interlocking system. Made from concrete and Italian walnut, the pieces echo both the geometric precision of Bottega Veneta’s Intrecciato pattern and the modernist architecture of the Veneto region, where the house was founded. Soft leather elements carry this motif through the interior. A capsule collection in emerald green, a color tied to both Harrods and Bottega Veneta, highlights the space, while the launch of Mezzanotte, a trio of woody perfumes, adds a sensory layer to the project.

The visual direction comes from Craft is our Language, a campaign photographed by Jack Davison. The imagery focuses on hand gestures as symbols of making, communication, and closeness, presenting the artisan’s hand as both subject and tool. In line with the themes of the pop-up, the series draws inspiration from Italian artist and designer Bruno Munari and his handbook Supplemento al dizionario Italiano, which explored the meaning of Italian hand gestures.

Bottega Veneta opens a month-long pop-up at Harrods

the installation introduces La Tavola

this architectural concept is modeled on the communal tables used in Bottega Veneta’s ateliers

furniture and fixtures are arranged in an interlocking system

the pieces echo the geometric precision of Bottega Veneta’s Intrecciato pattern

made from concrete and Italian walnut

project info:

name: Bottega Veneta at Harrods

brand: Bottega Veneta

location: Harrods, London, UK

dates: September 2nd – October 2nd, 2025

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