Ariel’s Nomad 2 leaves its structure in view. The next generation is interesting less as a larger power figure than as a thorough reconsideration of a deliberately unusual kind of car.
Niessing’s Spannring Round makes a diamond appear to float between two ends of a band. The apparent absence of a setting is actually a precise piece of material engineering.
Released in October 2026, IWA 5 Assemblage 7 treats different sake components as a palette. The number identifies an edition of a continuing composition, not seven years of age.
At Aubusson, a scene from Spirited Away becomes a monumental woven image. The unexpected discovery is the new work required when an animated world must be rebuilt in thread.
In Franeker, Eise Eisinga built a working model of the solar system above a domestic room. The extraordinary part is not just that it survives, but that it still makes an abstract idea visible.
Expressive E’s Osmose keeps the familiar piano keyboard but makes pressure and sideways movement part of the sound. The instrument rewards what happens after a note begins.
Habitat 67 stacks homes without surrendering the idea of a private terrace. Almost six decades later, its strongest argument is that people still live inside the experiment.
Tiwal changes a less glamorous part of sailing: storing and moving the boat. An inflatable hull and dismantling frame make access to the water part of the design problem.
A-POC ABLE ISSEY MIYAKE and Nature Architects use engineered shrinkage to turn cloth into a three-dimensional garment. The pattern is not decoration. It helps tell the material what to become.
Niepoort’s Garrafeira inserts a long glass-demijohn chapter between cask and bottle. The unusual vessel reveals why the way a wine spends time matters as much as the date on its label.
Levantina brings Tessitura Bevilacqua velvet into Materica’s metal-surface world. Its appeal lies in the friction between two material traditions, not a generic claim of Venetian luxury.
Amsterdam’s SoundLAB invites people to make music on unfamiliar instruments before they have learned a conventional technique. A different interface can change who feels able to begin.