Archipanic (2025)

04/11/2025

At Dubai Design Week, independent creative lab Duette unveils the Ephemeral Petunia Garden — a dreamlike installation that turns one of Dubai’s most fleeting winter blooms into a mesmerising field of light and reflection. 🌸

“Petunias bloom only for 90 days between November and March, often overlooked in the landscape of the city,” say founders Fuad Ali and Rahat Kunakunova. “We transformed that fleeting beauty into a monumental experience.”

By day, mirrored surfaces catch the shimmer of Dubai’s skyline and passing clouds. By night, softly glowing petals rise from the ground — a floating garden of light where nature and the city meet. 🌃

Rooted in Duette’s passion for emotional, multisensory storytelling, the Ephemeral Petunia Garden explores memory, transience, and collective joy — an invitation to pause, reflect, and reconnect with the poetry of impermanence.

Crafted in collaboration with Blachere Illumination, the installation combines delicate metal stems and powder-coated mesh petals atop mirrored, modular panels made from sustainable materials — designed to travel, bloom, and rebloom across cities.

In the Ephemeral Petunia Garden, beauty doesn’t last forever — and that’s exactly why it feels so alive. 🌷

31/10/2025

Close your eyes and picture a haunted house. You’re probably imagining a lonely wooden mansion with towers, turrets, a creaky porch, and a steep roof dotted with dormer windows. That’s the Victorian haunted house: beautiful, dramatic, and eternally eerie.

These houses sit like relics at the edge of idyllic neighborhoods — imposing, empty, and brimming with untold stories. Their dark silhouettes and decaying grandeur whisper of lost fortunes and restless ghosts. But why does this specific style haunt our collective imagination across so many movies, comics, and TV series?

The story begins in the late 19th century, during the reign of Queen Victoria — an age of prosperity and ambition known as the Gilded Age. In the US, newly wealthy industrialists flaunted their success by building ornate mansions inspired by European grandeur: Gothic arches, carved wood, and mansard roofs. But after World War I, modernism took over. Sleek lines replaced ornament. Light replaced clutter. The Victorians’ exuberance was suddenly seen as grotesque and outdated. Their mansions were abandoned to become eerie urban relics.

In 1925, Edward Hopper’s House by the Railroad immortalized that lonely, decaying beauty — later inspiring Alfred Hitchcock’s chilling Bates House in Psycho (1960).

Then came the legend: in 1938, Charles Addams introduced The Addams Family in The New Yorker, sealing the image of the Victorian haunted mansion in pop culture forever. From there, the genre exploded — think House on Haunted Hill (1959), The Haunting (1963), and Netflix’s The Haunting (2018).

Victorian interior can be found in House on Haunted Hill, set in Frank Lloyd Wright’s Ennis House; in Guillermo del Toro’s Crimson Peak (2015), where every corridor bleeds dark romance; and in classics like Beetlejuice (1988) and The Others (2001).

The myth lives on — in Wednesday, Ghostbusters: Afterlife, Scooby-Doo, It and even Stranger Things. From Michael Jackson’s Ghosts to the Phantom Manor at Disneyland Paris.

A blend of architectural excess and cinematic imagination - the Victorian haunted house reminds us that every ruin has a soul, and every ghost, a story. 🏚️✨

30/10/2025

We Design Beirut 2025 turned the Lebanese capital into a vibrant stage for creative dialogue — from Roman baths to Ottoman villas and brutalist skyscrapers. 🇱🇧💪🛋️

With themes of legacy, revival, and continuity, the design week resonated deeply as the country marked fifty years since the onset of the Civil War.

Designers, artisans, architects, educators, and students converged in a shared act of creation and renewal. “Collaboration can rebuild what was once broken, not only physically, but also emotionally and socially,” said founder Mariana Wehbe.

Read more on Archipanic.com

Among the highlights (in order of appearance)

Carl Gerges created a hot-water jet bath fusing contemporary hydrotherapy with ancient Roman culture. Ph. by Walid Rashid. 🫧

At the brutalist and neglected Burj El Murr students from nine Lebanese universities reflected on how conflict shapes architecture, space, and identity. Ph. by Ieva Saudargaite. 🏙️

Sarah Beydoun paid heartfelt tribute to the fading art of handmade bridal trousseaus, lovingly assembled from heirloom garments and linens. Ph. by Bernard Khalil. 👰‍♀️

Khaled Mouzanar created a poetic storm of floating pianos, music sheets, and doors, suspended midair as if time had paused. Ph. by Charbel Saade. 🎼

Emma Dya Jabr’s Bar Platine revealed rotating shelves that rise and fall like the layered ruins of Beirut itself. Ph. by Dia Mrad. 💡

Dia Mrad turned Lebanon’s unpredictable power supply into a glowing sculpture that signals which energy source is active. Ph. by Dia Mrad. ⚡️

Tamar Hadechian’s Material Memory unfolded as a poetic performance of clay and labour. Ph. by Bernard Khalil. 🧱

Ahmad Abouzanat’s created poetic hand-sized stone blocks shaped like Lebanese soap. Anchored by three marble “soap towers,” the work explored resilience, memory, and human connection. Ph. by Walid Rashid. 🫧

Japanese collective Spread presented a dreamy spatial installation where hand-torn paper shapes drift through a net of light and air. Ph. by Youssef Itani. ✨

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28/10/2025

From brainwave symphonies to design activism in the treetops — at the Design Academy Eindhoven Graduation Show 2025, Gen Z redefines design as care, resistance, and connection. 🌿✨

🌳 Céleste Zion’s ‘Uprising Canopy’ transforms protest into architecture — a handmade shelter from fallen trees that celebrates community, healing, and resilience.

🌾 Benjamin Onno Dikmans’ ‘Rewild Farming: Starter Kit’ reimagines farming with modular, mobile workspaces for regenerative agriculture and ecosystem restoration.

🎧 Stan Wijnands’ ‘Dancefloor Synergy’ turns the dance floor into a shared brainwave experience, where synchronised minds make music together.

🧵 Floor Berkhout’s ‘Born under Thread’ weaves technology and touch, turning a loom into a living computer powered by human rhythm and material intelligence.

🪄 Anna Zoe Hamm’s ‘Tenderlymilitant.exe’ transforms broomsticks into symbols of soft militancy — tools of care, defiance, and emotional activism.

🌀 Anika Greyling’s ‘Layered Lines’ collaborates with 3D printers to embrace unpredictability, creating beautifully imperfect forms through human–machine dialogue.

⚡ Sara Ballout’s ‘Networks of Necessity’ maps how communities in crisis build resilience through informal power networks and collective creativity.

💎 Mateusz Dryński’s ‘1511’ project fractures moulds into chaos, crafting one-of-a-kind porcelain vases that balance precision with spontaneity.

📡 Greta Munaro’s ‘Composing Interference’ turns electromagnetic noise into art, letting visitors shape sound and image through movement.

📻 Karin Pinto’s ‘Bruno’ redesigns the radio for people living with dementia — one button, pure connection, and the healing power of music.

Each project from Design Academy Eindhoven Graduation Show 2025 reflects a new mindset — where design grows from empathy, experimentation, and the courage to imagine better futures. 💡🌍

More on Archipanic.com

Photos by Ronald Smits, Nicole Marnati, Carlfried Verwyaaien, Femke Reijerman, and Karin Pinto.

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27/10/2025

In Eindhoven, Pauline van Dongen’s innovative solar-powered fabric captured the sun’s energy and glew at her Umbra Pavilion, a kite-like architecture weaving light, technology, and care for our planet. 💡🌎☀️

At the heart of the pavilion lies Heliotex, a solar textile developed by Studio Pauline van Dongen and Tentech over four years. Light, flexible, and beautifully engineered, it weaves solar cells directly into its fabric. As evening fell, the energy gathered during the day gently returned as a soft, ambient glow.

“By drawing our gaze to the sky, the Umbra Pavilion invited us to envision solar cities that are alive and inviting,” said van Dongen. The installation “aimed to raise awareness of climate adaptation and the energy transition through the power of design.”

In cities where summer heat can rise up to 8°C higher than in the countryside, shade becomes a precious commodity. And where trees can’t grow, Umbra Pavilion offers a striking alternative.

The structure stretches 190 sqm and is nearly 10 metres high. 150 organic photovoltaic solar cells are seamlessly woven across 40 square metres of textile, producing and storing up to 3 kWh of power.

Beyond its visual allure, Heliotex is a technical marvel — weather-resistant, UV-stable, flame-retardant, and super lightweight. Made from recycled polyester yarn, it’s designed with circularity in mind: every solar module can be separated, reused, or recycled.

With the Umbra Pavilion, Heliotex makes its architectural debut, offering a stylish and practical solution for shading structures, textile façades, and festival tents — with plenty of potential for even more creative applications. Sun power becomes flexible, foldable, scalable and adaptable in various shapes, yarns, colours, and weave patterns.

The innovation continues beyond Eindhoven. The smart textile’s industrial manufacturing process is currently being advanced. And in summer 2026, Umbra Pavilion will rise again in Arnhem, continuing its mission to demonstrate how design-led innovation can cool, shade, and inspire. 🇳🇱😎⛱️

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25/10/2025

Fantastic beasts and where to find them… 🐇✨ A hint? At Karl Lagerfeld’s former home, the 17th-century L’Hôtel de Maisons, where Design Miami Paris 2025 transforms history into a dreamscape of collectible design. Celebrating its 20th anniversary, the fair returns to the French capital with its largest gallery and Design at Large program yet — and this year, zoomorphic design is stealing the show.

From Claude and François-Xavier Lalanne’s iconic sheep, gilded goats, and luminous pigeons to Vikram Goyal’s poetic Soul Garden for The Future Perfect NYC, the fair is alive with creatures of myth, memory, and imagination. In Vikram Goyal’s garden, designed in collaboration with Berlin-based artist Sissel Tolaas, scent becomes a storytelling medium, inviting reflection on empathy and transformation.

Inside and out, design and fantasy intertwine. Frida Fjellman reinterprets Rococo with serpents and wild boars; Timothée Humbert crafts owls and bats from papier-mâché-like textures; and Agnès Debizet’s joyful, eerie L’Espèce Rouge comes to life in playful clay forms.

Aude Franjou’s hand-woven vines for Maison Parisienne spill across balconies and arches, creating a living dialogue between textile and architecture. 🌿

At Design Miami Paris 2025, collectible design becomes storytelling — where every piece is part creature, part dream, and entirely magical. ✨

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24/10/2025

Over a month ago, Harry Nuriev invited Parisians on Instagram to get rid of forgotten or unused items and exchange them as works of art. That T-shirt you won’t be wearing anymore, that book you read too many times, that unwanted gift or old perfume, electronics, sports and humble objects. With Objets Trouvés, the designer transformed consumerism into a participatory art installation at the Petits-Augustins chapel inside the Beaux-Arts in Paris during ArtBasel.

To join, you don’t need a dress code or buy a ticket. Bring an unwanted item and collect another one in exchange. There are no rules except to avoid broken, dangerous or dirty objects. Each contribution is certified as a work of art, and at the end of the exhibition, all exchanges will be compiled in a phone book-like directory, transforming this ephemeral process into a permanent archive.

Framed by the stunning scenery of the chapel, stacks of neatly arranged supermarket boxes filled with objects brought in by visitors, their rigid geometry contrasting with the unpredictable nature of human choice. Over the course of the week, the installation evolves organically, shaped by the flow of human interaction, blurring the line between creator and participant, value and disposability.

Exchange becomes social interaction as much as artistic creation. Two core ideas run through the project. The first is transformation as participation — a recognition that art is no longer a static object but a dynamic social ritual. The second is the act of letting go, which Nuriev interprets as a form of renewal rather than loss. In this sense, Objets Trouvés becomes a collective portrait of consumption, revealing both the absurdity and beauty of what we choose to keep, trade, or abandon.

The installation is imbued with Nuriev’s creative philosophy centred on Transformism as the reinvention of existing materials to reveal new meanings. “Objets Trouvés is a reflection on the changing value of matter, but also on the act of letting go,” explains the designer.

24/10/2025

In the heart of Paris, Jean Nouvel has redefined what a museum can be. The French architect transformed a 19th-century department store facing the Louvre into a bold new home for the Fondation Cartier pour l’Art Contemporain — 8,500 square metres of luminous, ever-changing space dedicated to contemporary art.

Nouvel’s design is both poetic and radical: a “mechanical” architecture where five vast steel platforms rise and fall like theatre stages, reshaping the interior with every exhibition. Transparent cables, exposed machinery, and soaring skylights celebrate the building’s structure as part of the art itself.

Historic stone meets visible engineering, while hanging gardens and movable shutters filter the Parisian light. Around this kinetic core, galleries, balconies, and glass façades create a seamless dialogue between past and future.

More on Archipanic.com.

Photos are by Martin Argyroglo.

23/10/2025

✨ Best of Dutch Design Week 2025 – Part 2! ✨
Until October 26, Eindhoven transforms into a living lab for creativity — a city-wide celebration of ideas, experimentation, and bold design visions.
More on Archipanic.com

🎨 Kiki & Joost celebrate 25 years of design adventures with In Action — a vibrant mix of new autonomous works, joyful collaborations, and experiments in clay, paint, and even garden-grown tapestries. Photo: courtesy of DDW.

☀️ On Ketelhuisplein, Studio Pauline van Dongen’s Umbra Pavilion unfurls gracefully. Made from solar textile Heliotex, it shades visitors by day and glows with harvested light by night — a poetic meeting of innovation and atmosphere. © Max Kneefel, courtesy of DDW.

💡 200 graduates from Design Academy Eindhoven showcase the future in the DAE Graduation Show 2025, proving how design can rethink and reshape reality. Pictured: Who Stole the Sky? graduation project by Ze Qiu, Design Academy Eindhoven – © Nicole Marnati, courtesy of DAE.

🪑 Inside the former Campina dairy factory, Forward Furniture, curated by Liv Vaisberg, redefines collectible design. Nearly 100 creators explore material innovation, turning sustainability and craftsmanship into statements of intent. Photo by Max Kneefel, courtesy of DDW.

🌍 Transnatural’s Invisible Matters transforms unseen natural forces into tangible art. By merging science and ecology, designers reveal the invisible pulse of our planet and imagine new, poetic routes for innovation. Photo by Transnatural.

🚰 Salù Iwadi Studio’s Water Basin Totem — built from 84 recycled plastic basins — stands as a colorful beacon for awareness, reflecting on Africa’s water challenges through the lens of design. Photo: courtesy of DDW.

✈️ Gaza Travel Agency is an imaginary project imagining the return of Palestinian refugees to ancestral towns — a design-led intervention that confronts history, displacement and hope. Image by Sally Tyson.

The last photo is by Max Kneefel.

22/10/2025

Best of Dutch Design Week 2025 - Part 1 of 2. Until October 26, the festival transforms Eindhoven into a living lab for creativity. More on Archipanic.com.

1. Eindhoven becomes a giant playground thanks to Krijt-Je-Rijk — a participatory project by De Reuringdienst built around a three-metre-tall piece of chalk. From students to passers-by, thousands will help attempt a world record for the largest chalk drawing.

2. Bridging Minds. The Van Abbemuseum presents 100 works by leading designers and artists in an exhibition curated by Miriam van der Lubbe. Pictured Queen Maxima visits the exhibition - Photo ©Max Kneefel.

3. The Class of 25 group exhibition showcases the most impressive graduation projects from various Dutch and international academies - Photo ©Max Kneefel.

4. In a world obsessed with endless choice, Spot Collective’s ALL YOU CAN EAT skewers overconsumption and sameness, revealing how abundance can devour originality.

5. City at Sea Level installation by Studio Cumulus challenges viewers to face the consequences of climate denial and confronts one of the Netherlands’ deepest anxieties: the stark reality of rising sea levels.

6. The Dutch Design Foundation presents Designing Society: coalitions and alliances for a better future.

7. At the SHOW NOT SHOW exhibition, Clovis Atelier, Frank Penders, Lucas Zito and more invite you to look beyond the object, to trace the invisible thing called concept.

8. At the provocative Playing with Weapons installation, Hannah van Luttervelt presents plush, oversized toys shaped like bombs, rockets, and mortars. when does familiarity become numbness? Through softness, the designer reawakens our awareness of war’s chilling normalisation.

18/10/2025

Sometimes, architecture is felt more than seen. 471 Days, an installation by Filippo Teoldi in collaboration with Midori Hasuike, turns the grand staircase of Triennale Milano into an emotional landscape—a place where time, loss, and humanity converge.

Part of ‘Inequalities,’ the museum’s 24th International Exhibition, the work reinterprets design as an act of remembrance, spanning the 471 days between Hamas’s attack on 7 October 2023 and the fragile ceasefire in January 2025.

Suspended from the ceiling, 471 vertical fabric columns descend like a forest of grief—each one representing a single day. Their varying lengths correspond to the number of lives lost, transforming statistics into something tactile and devastatingly beautiful.

Beneath them, the staircase becomes a canvas for hand-drawn annotations: a delicate cartography of escalating violence, moments of pause, and fragile hope. 471 Days is immersive yet silent, inviting visitors to pause—a rare stillness amid the exhibition’s buzz.

Read more on Archipanic.com

Photos are by Delfino Sisto Legnani, Alessandro Saletta and Agnese Bedini, courtesy of Triennale Milano.

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