There are times when deeper delving is called for to find the true seed of change within one’s intention.  Like so many, I start each year with New Year resolutions — committing to them through February or March and then slowly forgetting over the remaining months.  This little ritual provides a sense of action and new beginnings no matter how fleeting an impact it has on my life.  In retrospect, if we make superficial resolutions we get superficial results – real change requires that we plant newly sprouted wishes so profoundly that they will grow strong roots and fruitful branches.

This year, I am feeling a strong need to be productive.  Perhaps many of you share this feeling because when business is slow our hours do not seem as creative.  The resolution started out as desire to make things and with more consideration grew to include a sense of loosening the bonds of doubt about the future and replacing them with steps that I can take that will increase my creativity, engagement with the world and wealth.

I’m not alone in this aspiration.  A recent Google search on “personal productivity” brought up 11 million citations.  Most sites offer advice related to the economic definition for productivity which can be loosely stated as:  to produce, or engage in wealth and/or value increasing activities.  One excellent example is StevePavalina.com which has 33 Rules to Boost Your Productivity and two additional volumes of rules and advice such as creating daily goals (I start with 3 priorities), tackling your most unpleasant task first (I have yet to try this), and allocating “no-communications” blocks of time for uninterrupted work (I’ve done this for years when I really need to concentrate).

All of this is excellent advice but it didn’t seem to get to the deep core I was searching for until I found the Dane, Alexander Kjerulf at PositiveSharing.com.  Kjerulf calls himself the Chief Happiness Officer and says, “The single most efficient way to increase your productivity is to be happy at work.  No system, tool or methodology in the world can beat the productivity boost you get from really, really enjoying your work.”  He calls this Arbejdsglaede which means Happiness at Work.  To figure out how to pronounce arbejdsglaede (something like ah-bites-gluh-e) click on the hyperlinked word above and Kjerulf himself will give you a lesson.

This is certainly different from my Japanese cultural background which has a word, karoshi, which means “death by overwork.”  Both sides of my family (the other side is from New England) believed that hard work and responsibility are the keys to success.  So how can Happiness at Work be the real answer?  Kjerulf summarizes that Happy People:  work better with others, are more creative, fix problems instead of complaining about them, have more energy, are more optimistic, are way more motivated, get sick less often, learn faster, worry less about making mistakes and consequently make fewer mistakes and make better decisions.

Sounds pretty good to me,  I’m adopting Arbejdsglaede as my new year’s resolution and I bet it’s an intention that I can keep all year and in the years to come, because as Kjerulf says,

“The future belongs to the happy!”

What differentiates great design from good design? What gives some designers that particular edge that takes a space from functional, interesting, and lovely to remarkable, amazing, and awe-inspiring? My theory is that they have a mastery of language – the language of design – in which they use a vocabulary of color, texture, pattern, and light to move beyond the prosaic and create poetry in *three dimensions.

So what, exactly, is the language of design? Language is the use of symbols and actions to convey meaning. There is a language of dance, a language of computer programming, a language of fl owers. All use formalized systems of symbols, rules, and structures to create and communicate expression.

The concept of a language of architecture has been in discussion since the early Greek philosophers, and it was deeply debated in the Renaissance as a way to give a theoretical framework for art and architecture. It came back into discussion in 1966 with the publication of John Summerson’s book, The Classical Language of Architecture, in which Summerson says that classical architecture is a visual language with its own grammatical rules. This got the design world talking and applying the concept of an architectural language to more contemporary works.

Daniel Libeskind, the internationally recognized architect selected to design the master plan for rebuilding the World Trade Center in New York City, said this in a 2005 interview with Forbes Editor David M. Ewalt: “I think design is the foremost communicator of all, because without it, there would be no orientation about where we are, who we are, where the sky is, or where the earth is without a window or a door or a space. In some sense, architecture is the biggest communicator about what the world is, who human beings are and what their desires and dreams are.”

Libeskind explained that architecture doesn’t use words or statements but expresses itself “with the earth, the sky, the light and the materials, and certainly through proportions and how forms are created in space.”

Indeed, while the design and construction industries have a lot of words, the designs themselves have no words. But they do have a language. The language of design is a system of three-dimensional symbols and kinetic experiences used to impart meaning and create conversation between the designer and the user. This language is metaphorical, yet it is grounded in patterns of living that people and cultures have forged over gen-
erations. Thus, the language of design in Finland will be different from that in Japan, and as a living language, it will evolve over time. We fi nd some of the most interesting architectural expressions with cross-cultural mixes, when the traditions of one culture are interpreted by and integrated into another. Frank Lloyd Wright’s prairie homes are a great example of this mix.

This month, we feature the work of Brazilian architect Marcio Kogan and his Studio mk27, which has mastered the language of design. Studio mk27 has created a design language that is beautiful and unique. Look to see how Kogan and Studio mk27 use form, pattern, color, texture, light, and materials to design statements that foster a dialog between Brazil’s past and vibrant future.

We have also designed a road map for you to create your own language of design. Many of our readers wonder how to achieve amazing results with their design projects; others would like to feel that all the parts are beautifully coordinated. Developing a personal language of design means that you choose the vocabulary for materials, colors, forms, and infl uences before starting on a project. Then you can “write” your design story as you put it all together. You’ll encounter subtleties and make changes as you experiment and design and discover the elements you really like, but the core language will insure that you achieve the integrated results that you
envision.

Like most people, I have been keeping track of the disastrous oil spill in the Gulf of Mexico. I have tried to make sense of the public relations efforts of BP, the company responsible for the spill. I have noticed the variety of opinions swirling around how bad it really is and what we can do to fi x it. I realize that we are all trying to make sense of what has turned out to be the largest environmental disaster in the history of the United States and was struck by a couple of concepts.

1) We live in the “Age of Petroleum.” It is not just our use of oil and gas as fuel that sets our age apart, but our use of petroleum to produce plastics, adhesives, pharmaceuticals, food additives, cleaning products, and personal care products. These uses are so widespread that it is almost impossible during the course of a day for the average person in the industrialized world to avoid using petroleumbased products. Yet most of us have no concept of how dependent we are on these products.

2) I noticed a shift in BP’s public relations campaign. The company is implying that consumers are responsible for the spill because of their demand for oil. Without such high demand, says BP, there would be no need for deep-water drilling. BP would have us believe that the American consumer, in particular, needs to use less energy — or at least fewer fossil fuels. In this scenario, we as consumers are ultimately at fault for the crisis in the Gulf. A number of environmental organizations have been quick to adopt this argument and use it as a call to action and for fundraising appeals.

I’m all for taking responsibility, and I share with most of you a desire to live a life that respects our planet and the life forms with which we share it. However, corporate responsibility is a critical issue here. As individuals, we have very little control over the manufacture of the products we use; we are consumers, not product designers or producers.

Of course, we can choose not to purchase any petroleum-based products at all. But let’s take that to the ultimate degree with, say, transportation. If we forgo all petroleum-based products, we would have to limit our movement to walkable distances and wear handmade shoes of locally tanned leather or handmade fi ber with no petroleum-based glues. In addition to automobiles, every other mode of transportation, from bicycles to motorcycles, buses, and trains, contain petroleum-based plastic parts of some sort. And that doesn’t even factor in the petroleum used to manufacture or transport the materials and the fi nished product. So exactly how are we, the consumers, supposed to limit our use of petroleum? Driving a Prius or using cloth shopping bags might make a dent, but it is certainly not going to make the biggest impact. That is up to the manufacturers.

Whether or not you believe, as the United States Supreme Court recently ruled, that corporations are people with free speech and other individual civil rights, the responsibility for the overconsumption of petroleum needs to be placed squarely in the courts of corporate decision-making. “Better living through chemistry,” brought us a plethora of petroleum-based products and ushered in the petroleum age. But this same chemistry is also bringing us plastics made of renewable  hydrocarbons from wheat, corn, and rice. Paired with hard science, engineering is achieving all sorts of breakthroughs in producing biofuels and other renewable energy sources. Wherever and however petrochemicals are used, no doubt there is some researcher looking for an alternative.

As consumers, we need to start demanding that the products we buy are sustainably produced and distributed. We must also demand that corporations take responsibility for the ecological damage they have already wreaked on our precious Earth. As we learn more about the disaster in our own waters, we are discovering that this is businessas- usual in places like Niger, whose coastal rivers and marshes have become literal dead zones. Our planet is an interconnected system. It is unacceptable for any part of that system, no matter how poor, to suffer such severe damage. It affects us all.

We should all continue to do what we can as individuals or households to live a more eco-friendly life. But it is time for global corporations to step up and walk their talk rather than merely “green-wash” their damaging practices with feel-good advertising and opportunistic donations. Unless big business changes its ways, we will continue to see widespread global destruction of critical habitats and local ecosystems.

Most of us can do little more than watch helplessly as, one agonizing fact at a time, we learn the reasons for and the fate of one of the largest manmade environmental disasters on earth — the oil spill in the Gulf of Mexico. One can only hope that the wisdom and courage of young people will help to heal a world that their elders have injured to an unprecedented extent. It will take most, if not all, of the lifetimes of upcoming generations to undo the damage their parents and grandparents have wreaked. So let us celebrate our children for their fresh views of the world and empower their curiosity about how things work. We need to support them in their efforts to stretch their minds, their bodies, and their dreams. The Earth needs brave, smart, steady, and aware young people to save it from disaster. Let us rejoice in their victories and allow their enthusiasm and joy of being to remind us of what it is to be human. Perhaps they can free those of us who are older to experience our lives anew.

In this issue, we wanted to bring you eco-friendly projects that are designed from a child’s perspective and that encourage learning through discovery. Our feature story takes us to Stamford, Connecticut, for a visit to The Children’s School, designed by Maryann Thompson Architects. A highly acclaimed architect, Maryann Thompson is also a mother who, along with her multidisciplinary design team, dug deep down into that well of experience to create a thoughtful and stimulating environment for young children. They designed a sophisticated building, featuring light-filled interiors and soaring ceilings, whose  conceptual foundation is nonetheless strongly grounded in a child’s world.

Child-centric design turns out to be an international trend, as you’ll see in the Olifantsvlei Preschool in Johannesburg, South Africa; the Adharshila Vatika in New Delhi, India; and the Yuyu-no-mori Day Nursery in Yokohama City, Japan. While each building is unique, they all use play as a central theme and organizing focus in their design.

We also bring you an innovative line of children’s bedroom furnishings from dearkids in Italy. Dearkids offers colorful furniture systems for spacechallenged homes — systems that will grow with your children as they mature from toddler to teen. Having thoroughly researched this high-quality, non-toxic and attractive line of modular furniture and accessories, I want it for my own home — and I have no children!

We are also proud to feature a brand-new product launch. – Glamour Rods are combined curtain rods and roll-down screen systems that are both elegant and functional. They look like traditional curtain rods, but the screen and electrical mechanism are hidden inside the rod. Forget bulky rod-and-screen combinations that don’t really look all that good anyway once they are installed. Now you can have sun-blocking shades that roll down on cue with the sun for greater energy efficiency and to protect fabrics and artwork from solar damage.

Lastly, Diisynology designer and contributor Chris Riddell talks about his impending move to Seattle and shares lessons he has learned from weeks of house-hunting. I think you will find his column fun and thought-provoking – and maybe even lifechanging.

Diisynology is now in its sixth month of publication. We are celebrating its growth just like any proud parent and hope you appreciate its blossoming as much as we do. Please feel free to send a note or comment to me at Julia@diisyn.com to say what you like and what you think we could be doing better.

Here’s to the younger generations and the hope they bring to the world.

Julia

In the spirit of this season of birth and rebirth, we want to explore the concept of engaging the senses through design. As  designers, we are fluent in the language of texture, light, form and function, and we often add in the elements of sound and smell. But what about taste? Can we design space that is luscious? Are there other human senses besides the accepted five to which design can appeal?

A growing number of scientists and researchers have added to the panoply of sensory perception such things as balance, acceleration, temperature, kinesthetics, pain, time, and direction. Research into molecular biology is beginning to uncover an
array of internal sensors related to the sensation of stretching our muscles, the expansion or contraction of the diameter of our blood vessels (vasodilation), and changes in our nerve cells as they receive stimulus or messages. Researchers are finding
that humans are sensitive to vibrations, pressure, chemicals, and possibly even electromagnetic wavelengths not considered to be within range of what we normally see.

Perhaps you know someone who is unusually sensitive. Among us are people who have the ability to navigate using the echo of sounds, similar to the way dolphins and whales navigate the oceans. Others see numbers, letters or sounds in color, or they
sense color in four dimensions, such as breadth, width, height, and time. Such a person may experience color in the way most of us experience music. For Buddhists, the mind itself is a sensory organ, and “thought” is a sense.

What does all this mean to us as designers? We are all designers of our lives and our spaces, whether or not it’s a conscious effort. Our understanding of sensation is beginning to expand and, with it, our need to consider a broader range of effects on the environments we create for ourselves and others.

For example, the first time I walked into a strawbale house, I immediately felt a physical sensation of comfort, and not due to the temperature of the air. Rather, because of the highly insulating properties of the straw bales, I was not losing body heat
to the surrounding walls. The sensation was not one of touch or temperature. It was a sense of not giving my heat to the environment. Perhaps this seems to be a little too analytical, but my sense of well-being was different than just feeling warm or
cold.

Another time, I was standing at a balcony railing in the atrium of the East Wing of the National Gallery of Art in Washington, D.C., and I had the sensation of being outdoors on a balmy day. This was not serendipitous. I.M. Pei’s design team created an
air circulation system for the atrium that not only controls temperature, but directs air movement in a very subtle way.

And when I was looking for a new home, my real estate agent and I walked into a house that made both of us feel the hair stand up on the backs of our necks. There wasn’t anything obviously unusual or strange about the place. And it didn’t look like a
haunted house. Yet we both agreed that we sensed something “creepy.”

We should design to incorporate pleasant stimuli to our sense of touch, smell, sound, taste, and vision and to incorporate other senses that may be in play.  How would you design to create a certain “vibe” or a special memory or to provide a sanctuary for
someone who is sensitive to wavelengths beyond the visible?

In this issue, we bring to you two wonderful designers whose work is multi-sensory. We are reintroduced to the visually rich, but largely forgotten, architecture of Edgar Miller by writers Richard Cahan and Michael Williams in a new book beautifully
illustrated with large-format photographs by Alexander Vertikoff. Miller, a Chicago artist and designer who reached his apotheosis in the midtwentieth century, filled his spaces with carved and painted wood, stained glass, mosaic tile, and
murals. He believed that art was something to live with everyday…

…as does contemporary interior architect Valerie Pasquiou, who shuns a high-style “showroom” look in favor of a warm, lived-in feel. In the second part of Diisynology’s in-depth interview with Pasquiou, the “designer to the stars” talks about
creating spaces that feel natural and organic and that provide a sense of the story behind the client.

Lastly we wanted to introduce you to the fabulous wall tiles and mosaics from Erin Adams Design. Erin Adams was creating tile for the Ann Sacks line before starting her own signature line. She has written an essay on community collaboration as an
essential element of sustainability and a key part of how she does business. We think you will love her tile and the collaborative installations she has done with artist, David Lee Csicsko, in Chicago.

Our feature article is an in-depth interview with star designer and interior architect Valerie Pasquiou.
It was a joy exchanging emails and talking with Pasquiou. She is a bright, energetic and thoroughly delightful person, and I hope that you will enjoy her interview as much as I did.

I first encountered Pasquiou’s work at a friend’s dinner party in Venice Beach, California. She lived in a small, funky, old beach house that she recently remodeled. I was curious to see the finished space. The transformation was amazing; it was hard to believe it was the same structure. The original house had been a maze of little rooms. Pasquiou opened up the entire house to flow as a single floor plan so that the second floor no longer felt isolated from the first floor. She added big new windows to let in light and air and even a glimpse of the ocean. Best of all, she created a series of comfortable places for friends and family to gather -– a beautiful, contemporary living room centered around an oversized coffee table, an open kitchen sided by a long dining table that could easily seat 12 people, and a cozy fireplace and television nook off the kitchen.

What I like most about Pasquiou’s work is the easy, livable style of her designs. They are gorgeous and are frequently in the public eye, yet they are not intimidating; you feel that you can just walk right in and make yourself comfortable.

This issue also introduces Doreen Richmond, a color expert who lives in Germany. Richmond has studied extensively the psychology of color, and she will be a regular contributor to DiisynJelly.com, our soon-to-be-launched social networking and education site.

We are very excited to be the “first on the block” to introduce KlipTech’s newest paper composite countertop material, RecycleTop. This product is so new that it isn’t even on the company’s website
yet. When I spoke with KlipTech founder Joel Klippert, he was on his way to film videos for the product launch. RecycleTop is made of 100 percent recycled post consumer paper and a newly developed resin that is 30 percent organic and is a proprietary mix of cashew nut oil and ethanol. KlipTech has been in the business of creating eco-friendly building products for more than 20 years, and we are honored to be the first to tell you about its newest and greenest product.

“This year, I am keeping my underlying intention, to empower people to be engaged in the creation of spaces that are in harmony with nature and to be transformed by beauty.” newly refined goals.

Today, I tend to think in terms of intentions rather than goals, but the basics are the same — clarity of purpose and definition of time, space and dimension. I want to declare to the world my personal call to action and then see where it takes me. There was a time when I planned everything in exact detail and was stressed when my plan didn’t unfold as I had envisioned. Now I hold the vision and let the details unfold, sometimes in the most amazing and unexpected ways.

Last year, my vision was to have some sort of Internet presence for Diisyn. What evolved was the December publication of Diisynology and the Artisan Diisyn catalog. What an amazing launch! There were tears in my eyes when I realized that Diisyn had gone global and the Diisynology subscriber base was actually growing daily!

This year, I am keeping my underlying intention, to empower people to be engaged in the creation of spaces that are in harmony with nature and to be transformed by beauty.

This month, Diisyn is rolling out a social networking site for people who love design. It is inspired by Amit Gupta and Luke Crawford, who created WorkAtJelly.com. I loved the idea of people getting together for informal collaboration and exchange of ideas and hope that our new site DiisynJelly, will give you a place to meet up with others who have a passion for design.

We also have some new catalogs in the works: One for some extraordinary lighting fixtures that will illuminate your life and give new meaning to how beautiful green can be, and another on sustainable products for bed and bath. The Artisan Diisyn catalog continues to expand as we find unique, hand crafted accessories from around the world.

We will also be introducing you to an amazing group of designers and manufactures who are dedicated to sustainability; including Beth Rekow and her collaborative design work with women starting over in life. Periodically during the year, Beth will introduce us to the project, the women and the progress they make healing themselves and creating a healing garden together.

Lastly, Diisynolgy is dedicated to you the reader. We want it to be the best it can be and would love your comments on how we can serve you better. Please contact us at info@diisynology.com.

So here is my New Year’s toast, May you all be blessed with a year of beauty, grace, harmony, love and success!

Editor of Diisynology and founder of SpaceEverything, LLC, Julia Takahashi has degrees in environmental design, architecture and urban design. In her professional practice, Julia’s projects have won a number of awards for innovation and leadership. A pioneer in the green building and community development movements, her newest project is a series of interlinked websites providing a resource to people who want to create their own interior designs and learn more about sustainable design.

“We Provide our readers Extraordinary Resources and Exquisite Designs each and every month, that is our promise.”

As the founder and editor of Diisynology, I am delighted that your curiosity, adventurous spirit and desire for the new — inspired you to open up our new digizine focusing on your passion for extraordinary and beautiful design.

Diisynology arose from my experience as a green building designer – I felt frustrated with the time it took to find sustainable products for my projects and I found my clients and friends wanting to create beautiful, non-toxic interior space but feeling lost and alone in their efforts. Diisynology has been created to provide a resource for ideas, trends, and products that honor the earth and are healthy for all of us. Every month we will bring you feature articles on design trends, green designers, and new products. We will also have columns focusing on design methodologies and advice and very importantly – our letters from you.

Diisynology is for everyone who has an interest or need for great design. We will focus primarily on interiors, but since interiors and architecture are often so closely aligned we will dip into building design. Professionals will find the detail that they need for their projects and aficionados will find inspiration and news. We welcome the entrepreneur or business person who is looking to create that special brand and express it in their business space as well as the person who wants to individualize their living space or create a healthy home for their family.

Diisynology is part of the larger Diisyn family of websites, all dedicated to bringing you the best in green design. For more about our other sites, please take a look at the Information Superhighway article.

For this inaugural edition, we bring you a series of articles that respond to our inner need for illumination as we move out of the seasons of harvest in the northern hemispheres and into the season of contemplation and celebration. We hope to introduce you to the design art of Vastu and its emphasis on creating space which is peaceful and transcendental. This issue is also about beauty – what is it, how does it improve our lives and how we can be both green and gorgeous!

In preparing for the launch of Diisynology, I attended a workshop on heart virtues given by Greg Mooers. I found that my heart virtues of transformation and empowerment are at the core of what I am creating. I am committed to helping you transform your space into one that is empowering to you and/or your clients. I am committed to being part of a transformation in the way we interact with the earth. I am committed to inspiring you to greatness and empowering you to find and express the designs that light up your world and make you love your life! If you want to learn more about heart virtues, check out www.heartvirtue.com

Editor of Diisynology and founder of SpaceEverything, LLC, Julia Takahashi has degrees in environmental design, architecture and urban design. In her professional practice, Julia’s projects have won a number of awards for innovation and leadership. A pioneer in the green building and community development movements, her newest project is a series of interlinked websites providing a resource to people who want to create their own interior designs and learn more about sustainable design.

Vitra for the Home

Two Sofas & a Table for Home or Office

When design innovation meets sustainability and Swiss precision, you get Vitra, which for seventy years has been manufacturing and distributing contemporary furnishings worldwide for the home and office. Vitra collaborates with well-known and up-and-coming designers and architects for its product lines. Borrowing from the design and manufacturing ethics of Charles and Ray Eames, Vitra maintains an eco-conscious philosophy whose core is product longevity. The company avoids trendy or short-lived styling, aiming instead for tomorrow’s classic designs – high-concept, practical pieces that owners will cherish for decades and pass on as collections.

Widely known as a quality source of office furniture for commercial interior designers, Vitra branched out several years ago into residential furnishings. In February of this year, the company opened the doors of VitraHaus, an unusual five-story showroom in Basel, Switzerland, designed by the award-winning Swiss architecture firm of Herzog & de Meuron Architekten to look like a pile of houses.

Vitra’s philosophy for furnishing a home involves a gradual process of assembling and arranging furniture and objects in what the company’s literature calls a “collage interior.” Vitra believes it’s important for an individual’s sense of style and taste be reflected in his or her home even as fashion changes. One way to achieve this is to select favorite items that remain constant while gradually updating the rest of the furnishings and finishes. In this way, residential interiors stay vital and vibrant, in contrast to a more conventional approach where an interior design captures what is popular at the moment.

We have chosen three lines of Vitra’s extensive collection – which includes a special line just for kids – to show you. Like most Vitra furnishings, they are suitable for both home and office.

The Suita sofa family, introduced this spring at the Milan Furniture Fair, is the latest design in a twenty-five-year-long collaboration between Vitra and Italian designer Antonio Citterio. The Suita collection combines Citterio’s signature style of clean, upholstered lines with an elegant steel frame and a bit of caprice. Suita is not just a sofa; it’s a system. It can be configured and sized from a simple seat for one or a sofa for two to a seating system that can wrap around an entire room. It has an assortment of single seats, corners, sofas, and lounges with soft or firm seating to suit all comfort levels. The “platform” is a cross between an ottoman and a coffee table – comfortable enough for supporting tired feet but firm enough to hold books, trays, magazines, etc. Two add-on features extend the function of Suita and set it apart from other modular seating: attachable headrests for added comfort or visual and audible privacy and shelves that hook on to the back for storage or display or to serve as a narrow desk where space is at a premium. The Suita sofa is available in a wide choice of fabric and leather upholstery and a variety of colors; the frame comes in either a chrome or steel finish. You can see examples of Suita by clicking on Suita by Vitra.

French brothers Ronan and Erwan Bouroullec designed Vitra’s Alcove sofa to be “a room of its own within a room.” It features a steel frame supporting a box-like sofa that is softly upholstered and cushioned. The flexible, wrap-around sides and back are at a perfect height for resting one’s head. The “highback” version has, as the name implies, a higher back and higher sides, which turn the sofa into one’s own private domain. The Alcove line comes in three sizes: a loveseat, a two-seater, and a three-seater. Matching ottomans are sized for the two smaller couches. For more information, please go to Alcove by Vitra and Highback Alcove by Vitra.

Italian designer Alberto Meda wanted to design a simple, well-conceived manager’s desk. ArchiMeda is certainly that, and then some. With a steel-scissor lifing mechanism, the large, wood-veneer top adjusts electronically from coffee-table to desk to standing-table height in just nine seconds. You can choose between light or dark oak for the tabletop and chrome or steel for the frame. Because of its generous size, the desk can serve as a small conference table in the office or a dining table in the home. Wherever you use it, the multipurpose ArchiMeda can adapt to a changing lifestyle and could easily become one of your favorite and most indispensable pieces. To learn more, go to ArchiMeda by Vitra.