Junior Designer

Introducing the SOM Collection for IKONstudio. 08 Jun 2026 This landmark reintroduction of pieces rooted in SOM's legacy of total design is part of a larger effort to share SOM's vast archive of bespoke furnishings. CHICAGO - During Fulton Market Design Days and Chicago Design Week, Skidmore, Owings & Merrill (SOM) and IKONstudio are launching the SOM Collection: a curated selection of historically significant furniture designs created by the firm between the 1950s and early 1990s and now introduced into contemporary production for the first time. The SOM Collection is the inaugural architectural collection presented by IKONstudio, a platform dedicated to identifying, preserving, and reintroducing historically significant furniture designs for contemporary use. Skidmore, Owings & Merrill may be one of the best-known architecture and design firms in the world, but there is an entire body of work that is largely unknown. For decades - between 1950 and the early 1990s - the firm designed dozens of significant pieces of furniture and objects - each in its own right a part of SOM's modern, rigorous aesthetic, with a carefully honed sense of ergonomics, material innovation, and environmental responsibility. Originally conceived as integral extensions of SOM's architecture and interiors, the collection reflects the firm's longstanding philosophy of "total design," in which buildings, furnishings, materials, and spatial experience are resolved as a unified whole. Developed for many of the most influential corporate, cultural, and private interiors of the 20th century, these works were bespoke commissions that were designed for specific clients and environments and not intended for commercial release. Long overshadowed by the commercial prominence of manufacturers such as Herman Miller and Knoll, SOM nonetheless developed one of the most sophisticated bodies of bespoke corporate furniture design in postwar America. It is distinguished by its modernist rigor, an evolving material language of hand-polished stainless-steel frames, glass and stone surfaces, walnut and teak for managerial spaces, and rosewood and exotic burls reserved for executive environments, as well as the extraordinary craftsmanship, customization, and modernist opulence that distinguish the firm's furniture from contemporaneous commercial offerings. "From its earliest years, SOM approached design holistically, working fluidly across scales - from cities to buildings to interiors to furnishings," said Partner Chris Cooper. "These furniture pieces were not conceived in a vacuum. They were part of larger architectural ideas about clarity, proportion, materiality, and experience. Revisiting them allows us to evolve that broader conversation." The SOM Collection marks the first time this body of work has been systematically revisited, researched, and adapted for contemporary use, as part of a larger effort by SOM to bring this archive to public awareness. SOM and IKONstudio committed to extensive archival research, prototyping, engineering, material development, and contemporary manufacturing techniques to bring the collection into production while preserving the integrity of the original designs. Each piece is constructed with fidelity to the original design intent, retaining the typologies and materiality that distinguish the works, while evolving production with advanced technology, and sustainable processes. "These works emerged from a moment when architecture firms were deeply engaged in every aspect of the built environment, down to the scale of the chair," said Partner Julia Murphy. "We are revealing not only a hidden chapter of SOM's history, but a set of ideas about permanence, restraint, and design integrity that feel increasingly urgent." The inaugural collection centers on two historically significant seating systems: SOM76 - originally designed for the IBM headquarters in Armonk, New York - and SOM79 - created for legendary fashion designer Halston's New York atelier. "SOM's legacy is exactly the kind of work IKONstudio exists to carry forward," said IKONstudio Founder David Feldberg. "When design emerges from a coherent architectural vision at this scale, it carries a rigor and an ambition that is inspiring in its deep consideration. Our work is to meet that ambition: to understand how these pieces functioned in their original context and celebrate what they can bring to contemporary interiors, made with the precision and materials available to us today." The SOM76 collection was designed for IBM's World Headquarters in Armonk, New York - a project shaped by the company's conviction that "good design is good business." Under the guidance of Eliot Noyes, IBM had embraced modernism as a means of defining its corporate identity, and commissioned SOM to create an environment that expressed clarity, innovation, and cultural seriousness. The SOM76 collection was conceived as part of that whole to furnish the lobby with pieces that extended the architectural language of the building rather than decorating it. The collection reflects that context directly. Its forms are defined by subtle, tightly tailored curves and continuous lines - comfort achieved through proportion and precision rather than padding or excess. Fully upholstered with softened geometries, the pieces balance rationalism with presence, making them equally suited to corporate, hospitality, and residential environments. Designed to support shared environments, the SOM76 chair and sofas (both two- and three-seaters are available) provide structured seating for conversation, collaboration, and everyday use. Its scale is deliberate - balanced enough to anchor a room without dominating it, ordered enough to integrate across a range of settings. The SOM76 Swivel Lounge Chair translates the same design language into individual seating. Its compact, sculpted form retains the collection's continuous lines and softened geometry, while the swivel base introduces a practical layer of flexibility - allowing movement between positions without breaking the overall sense of order. Available in a curated range of upholstery options. Designed by SOM's Charles Pfister in 1979 for Halston's New York atelier, the SOM79 chair sits at the intersection of fashion and architecture. The Olympic Tower, completed in 1974, is a defining expression of SOM's modernism - its dark glass façade rising against the stone of St. Patrick's Cathedral across the street. On the 21st floor, Halston's studio was a mirrored environment: floor-to-ceiling glass, a palette of red, the Manhattan skyline as backdrop. The SOM79 chair was designed for that context. Its cantilevered steel frame delivers comfort through structure rather than padding - a curvilinear form that holds tension between hard and soft, industrial and emotional. The architectural clarity of the piece allows it to move between settings: office, residence, cultural institution. The SOM79 table is a new addition to the product family and continues the same design language. A continuous chrome frame supports a glass surface that keeps the structure visible and the overall form light. It works equally as a dining table, a work surface, or a gathering point. Chair: Available in a sustainable polished chrome finish with a curated palette of LUUM leather and fabrics; Table: Available in a sustainable polished chrome finish with clear, smoked, or bronze glass top. "Our legacy in custom furniture design continues to inform a forward-looking approach grounded in exceptional materials and enduring utility," said Partner Olin McKenzie. "These designs were created to last - to be both culturally resonant and materially durable. Bringing them back into the collective consciousness reinforces the continuing relevance of that philosophy." Rather than treating the archive as an exercise in nostalgia, the collaboration approached the collection as a living body of design intelligence. Each piece has been carefully studied and refined to meet contemporary standards of ergonomics, sustainability, durability, and manufacturing precision while remaining faithful to the original design intent. The process included subtle recalibrations to seating proportions and comfort, updated material specifications aligned with present-day environmental standards, and refined fabrication techniques that preserve the architectural integrity and visual discipline of the original works. The launch of the SOM Collection follows a broader expansion of SOM's product and industrial design practice in recent years. Recent collaborations include Tetras, a modular lighting system developed with Artemide and presented during Salone del Mobile and FuoriSalone in Milan; Dyad, a marble mosaic collection created with AKDO; and Nebula, a public lighting fixture developed with Neri and installed at the Milano Cortina Olympic Village, among other urban settings. As part of SOM's ongoing collaboration with Form Portfolios, the firm is working with the furniture maker Haworth on a late-2026 launch of a collection of more archival furniture. Together, these projects continue SOM's multidisciplinary design tradition, which extends architectural thinking into objects, systems, and environments at every scale.

This new art museum in Los Angeles feels More like exploring the city than hopping through galleries. LACMA's David Geffen Galleries invites visitors to get lost and explore art without a set path. Published on April 22, 2026 I was inside the new David Geffen Galleries at the Los Angeles County Museum of Art for all of 20 minutes before I realized I had absolutely no idea where I was. Fully open to the public on May 4, the galleries twist and expand and narrow and open again, and before long I'd lost the thread of any logical sequence. But I found myself not caring - that disorientation is entirely the point. LACMA's long-awaited new building - designed by Pritzker Prize-winning Swiss architect Peter Zumthor in collaboration with Skidmore, Owings & Merrill - is one of the most radical projects a major American art museum has attempted in decades. Made possible by a $150 million donation from David Geffen, the 900-foot-long, concrete-and-glass structure curves loosely over Wilshire Boulevard and rises nearly 30 feet above street level: a strange, atypically beautiful building that looks, from above, like an amoeba. During a preview last week, the first thing I noticed was the light. Floor-to-ceiling glass lines the perimeter galleries, and Zumthor refused to seal the art off in dim, climate-controlled rooms. Instead, light streams in and shifts across the space over the course of the day, so a gallery that feels one way at 10 a.m. can feel entirely different by 3 p.m. Transparent curtains designed by the Tokyo textile artist Reiko Sudō, made of chrome fabric, diffuse the light without dulling it. For someone who has spent a lot of time in traditional museums with windowless galleries, the experience was disorienting in the best way. Artwork on display in LACMA's David Geffen Galleries. Museum Associates/LACMA Michael Govan, LACMA's CEO and Wallis Annenberg Director, said he asked Zumthor to design a museum "without hierarchies and with no façade." In practice, that meant no grand entrance, no soaring atrium meant to announce the institution's importance. Instead, you wander. Indeed, the museum's new guidebook is titled Wander. "The idea is there's no one path through the museum," Govan said, "just as there is no one story of art history." In practice, wandering through the David Geffen Galleries feels almost like taking a nature hike. Turn a corner and you find yourself face-to-face with a Francis Bacon triptych; a few steps later, there's a blue-and-white porcelain vessel from ancient China, then a photographic assemblage by the Los Angeles artist Todd Gray. The 45 curators behind the inaugural exhibition abandoned traditional categories such as medium and subject matter, organizing the show instead around major bodies of water: the Pacific, Indian, Atlantic, and Mediterranean. The idea is to trace how artists traveled, interacted, and changed along maritime trade routes. At times, the structure feels thrillingly random. More than once, it struck me as an apt way of seeing art now: a museum for the TikTok generation, for better or worse. This approach was shaped by the building itself. Zumthor created the architectural equivalent of a blank slate: 110,000 square feet on a single level with no prescribed path, which means no culture, no tradition, and no era is positioned above any other. Outside, the plaza beneath the building also became a canvas. The concrete walkways running through the campus are imprinted with patterns and forms that evoke the geology and history of the land, in a monumental work by Mariana Castillo Deball (Feathered Changes). While gazing out at the rows of palm trees and trying to focus on La Gerbe, Henri Matisse's ceramic wall piece, I stopped trying to orient myself and followed whatever caught my eye: a vintage 1920s redwood surfboard made for the Hawaiian Olympian Duke Kahanamoku; Do Ho Suh's ghostly full-scale re-creation of a section of Seoul's Gyeongbok Palace; ancient Greek and Roman statues. The experience reminded me of moving through L.A. itself - driving from Echo Park to West Hollywood to Venice Beach in a single afternoon, each neighborhood a world of its own. Read More:

Cayan Tower: the twisting icon of Dubai Marina. March 25, 2026 Cayan Tower, originally named Infinity Tower, is a landmark residential skyscraper located in Dubai Marina, United Arab Emirates. Completed on 10 June 2013, the tower rises to a height of 306.4 meters and consists of 73 floors above ground and 5 below. Developed by Cayan Real Estate Investment & Development, it was designed and structurally engineered by Skidmore, Owings & Merrill (SOM), with Arabtec serving as the main contractor. At the time of its completion, Cayan Tower became the tallest high-rise building in the world with a full 90-degree twist, surpassing Sweden's Turning Torso, and instantly became one of the most recognizable residential towers in Dubai. The tower's signature twist is achieved through a careful rotation of each floor plate by 1.2° around a central core, resulting in a smooth, continuous spiral from base to crown. This innovative approach not only creates a visually striking architectural form but also reduces wind loads along the building's height, enhancing structural performance. The twist gives residents unobstructed views of the Dubai Marina, the Arabian Gulf, and the Palm Jumeirah, ensuring that every apartment enjoys a unique perspective of the surrounding cityscape. Inside, apartments feature modern finishes, including reconstituted wooden flooring, synthetic marble countertops, and high-quality kitchen fixtures. The exterior incorporates titanium-colored metal panels and staggered screen panels designed to reduce direct sunlight penetration and enhance comfort for residents. A five-story underground parking garage supports the building, complementing its high-end residential amenities. Construction of Cayan Tower began in August 2006 but encountered a major challenge in February 2007 when the site was flooded due to a breach in the Dubai Marina retaining wall. After addressing the flooding, construction resumed in July 2008 and progressed steadily, leading to the tower's successful completion in 2013. The engineering required meticulous coordination to ensure that the reinforced concrete core, perimeter columns, and floor plates all accommodated the continuous rotation while maintaining structural stability. Since its opening, Cayan Tower has stood as a benchmark in geometric high-rise design and a symbol of Dubai's architectural innovation. Its twisting silhouette has become a defining feature of the Marina waterfront, drawing attention from architects, engineers, and residents alike. As a fusion of aesthetic daring and structural ingenuity, Cayan Tower remains a celebrated example of modern residential skyscraper design and a landmark of Dubai's ever-evolving skyline. Published March 25, 2026 March 27, 2023 March 28, 2023 May 1, 2023 May 2, 2023