The shop, which sells bottled, canned and dried food and drink products as well as merchandise such as tote bags, hats and T-shirts, opened in the Sunset Row shopping plaza following weeks of protests spurred by a New York Times article that spotlighted allegations of physical and verbal abuse under Noma co-founder and figurehead chef René Redzepi.
The dream is the confusion machine I didn't have to build, a space where perception slips beyond authorship. Within Communal Dreams, influence operates as a subtle signal rather than a directive force.
The Harmony measures 34 feet long and 8.5 feet wide, making it road-legal across North America without a special permit. Inside, the floor plan stretches to 423 square feet, thoughtfully designed for family living.
The 2026 edition signals a more structural shift through collaborations with figures such as Rem Koolhaas and David Gianotten, positioning the Salone as an evolving cultural infrastructure rather than a conventional trade fair.
The modular, lightweight structure dialogues with the formerly abandoned Brutalist building housing the museum, transforming its skeletal concrete structure and its surrounding land into spaces for use, care, and encounter. The project reflects on the boundaries between unfinished urban architecture and the landscape, foregrounding the labor and stewardship often invisible in both urban and institutional contexts.
The Limited Space' series is built around the idea of a figure that has outgrown its space. Through exaggerated proportions and sculptural silhouettes, the body appears too large for the environment that continues to constrain it. Architectural elements and imposed barriers function as abstract limits, pressing against the figure and revealing tension through scale, weight, and posture rather than narrative.
Some people have a negative perception of prefabricated homes because they think that implies a cheap mobile home. But it's actually possible to do very high-quality work in the controlled environment of a factory. And it's far faster and more reliable than doing the work on site.
Most storage furniture sits where you put it, fixed shelves and cabinets that do their job but rarely respond to how space changes during a day. Trolleys help with mobility, but they often feel generic, more utility than character. Harbor 051 is a storage trolley that borrows its logic from a place built entirely around movement and stacking, Busan Port, where containers shift and cranes swing in a constant choreography.
Accessible from three sides, the booth is shaped by approach and visibility rather than a single frontal orientation. The primary entry is marked by an angled portal set back from the site edge, establishing a layered visual field rather than an immediate overview. From this offset threshold, overlapping planes of tiles, textures, and color unfold gradually, encouraging movement through depth rather than direct access.
