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Video © Tom Dixon Studio





For the first time in nine years, one of the biggest international fairs in the world of lighting, Euroluce, presented Tom Dixon’s new lamp collection CHOICE.

Following last year's installation, where Dixon unveiled TWENTY at Palazzo Serbelloni, this year, the designer is back with his extraordinary new collection that reflect the theme CHOICE.


Dixon says: "This year we want even More. Much, Much, More. More colours, design variations, and unexpected combinations from floor lamps and chandeliers, to table tops and textiles give our design aficionados a deeper, wider palette of opportunity to help build perfect interiors.


More flexibility in where we can illuminate and how we design. That's why we call this year CHOICE. The essential skill in the construction of special spaces requires judicial choices. We worked and worked to open up the collection to this unexpectedly vast series of possibilities."


The collection includes the new PUFF pendants and chandeliers, PORTABLES lights inspired by the iconic MELT, BELL and STONE designs and CONE, along with our best-selling upholstery pieces FAT and WINGBACK, available in hundreds of colours and textiles.

"After 3 years of continuous uncertainty, volatility and economic hardship brought by Covid, we're going back to our original roots, focusing on creativity, innovation, and... CHOICE. Our idea behind our new campaign is to give the market a glimpse of light and inspire the world to play and be creative again." said Hans GS Hoegstedt, Tom Dixon's CEO.


A VIP party, powered by champagne brand Lallier, has already been confirmed, and will be held on Tuesday 18th April 2023.

/ The Instigator

The Choice is
always yours


"You have to really believe not only in          yourself; you have to believe that the world

is actually worth your sacrifices." Zaha Hadid

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Photo © David Chipperfield Studio






This month, British architect David Chipperfield was named the winner of the Pritzker Architecture Prize. 

Chipperfield’s reaction was, however, very modest. "Determination and commitment can compensate for a talent," he said. "Quite often, this is a discussion I have with my wife, I don't believe I'm that talented as an architect, probably just more persevering."

He explained that, despite completing numerous award-winning buildings all around the world, he still suffers from imposter syndrome, claiming that he feels like "a sham" compared to some of his contemporaries like Frank Gehry, Álvaro Siza, or Renzo Piano, who respectively won the award in 1989, 1992 and 1998 – as a winner of the Pritzker Architecture Prize.


He is the fifth British architect to win architecture's most prestigious award following James Stirling in 1981, Norman Foster in 1999, Zaha Hadid in 2004 and Richard Rogers in 2007.

“I would have failed without Zaha,” he adds it. “I'm a good catalyst, I think I am a good provoker, I am a good strategist.

Chipperfield studied with Hadid at the Architecture Association in London, and she helped him pass the course. "Zaha, until her last days, reminded me that if it hadn't been for her, I would have failed and that she got me my diploma," he recalled.

Chipperfield went on to work at both Foster and Rogers' studios before establishing his own practice in the mid-1980s, despite not being taken by the high-tech style that was being pioneered in their offices.

"I wasn't particularly interested in high-tech, funnily enough," he said. "Although I had the opportunity to go to Paris and see the Centre Pompidou during construction with Richard Rogers and I thought that was just the sexiest building I'd ever seen."

/ The Instigator

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Photo © Ross Lovegrove Studio





We asked old friend, visionary designer Ross Lovegrove:


AI or not AI?


“Some of my old friends and design colleagues often reach out to me expressing concerns about the works and projects generated with an AI-generated text-to-image. In a recent round table discussion organised by Neil Leach of Digital Futures World, I would like to share with you some brief thoughts” Ross stated.


I have personally always engaged with the latest technologies throughout my career and this AI age to me feels very much like early computational modelling or 3Dprinting when 20 years ago I was one of the very first using those to experiment and create new aesthetics against concerns of the more conservative and analogue creatives. At the moment I’m not too concerned about showing new AI visuals among my real pieces as it shows how contemporary and forward-thinking my approach has kind of always been. It’s true that now everyone can use AI and make beautiful imagery but not everyone has a background story to justify it or give it a provenance. This is a substantial difference and no matter how you work with the technology, it’s important to stay within the realm of subjects that you are genuinely passionate about. In my case: transportation, architecture, space travelling, science, biology, nature, design and art. Therefore, I find it quite exciting to be able to imagine and explore new territories with such level of visual complexity and relatively fast resolution.”




Where Art, technology and furniture design can intertwine breathing new creative life. After coming back from Milan, Lovegrove has been immersing himself in AI models to visualise different ways. He took organic forms into the city, celebrating the boundless potential of fluid morphologies.


/ Concepts generated with SDXLBeta.



/ The Instigator



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Photo © Ross Lovegrove Studio

Photos © Moss & Fog Studio







Is it design, architecture, or technology?


Some of the most famous architects in the world have left lasting impressions and significant impacts on our cities that will be remembered for generations to come.


Many people asked the question before: “what if…? What if our most revered architects designed vehicles?” 


Using Midjourney as a tool, the design team at Moss & Fog came up with surreal, rendering fictional images of AI-generated car designs adopting the distinct signature styles and embodying trademark aesthetics of Zaha Hadid, Renzo Piano, Norman Foster, and Frank Gehry.


Alluding to the monumental signature forms of Zaha Hadid, a futuristic car took shape from a series of modular steel panels configured in abstracted layers. Meanwhile, a sleek, modernist, and high-tech hybrid encapsulates the qualities of Norman Foster’s structural works, parked against a lavish stately home backdrop.


AI-generated cars by architects: Zaha Hadid / Renzo Piano / Norman Foster / Frank Gehry

/ The Instigator



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Located at the heart of Singapore's financial district, Danish Architecture studio BIG and the Italian firm Carlo Ratti Associati have completed a 280-metre-tall skyscraper, the CapitaSpring Tower, offering visitors a "seamless transition between the garden and the city".


"CapitaSpring Tower is like a vision of a future in which city and countryside, culture and nature can coexist, and urban landscapes can expand unrestricted into the vertical dimension," said BIG's founder Bjarke Ingels.

/ The Instigator



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