Are these four up-and-coming furniture designers the big names of tomorrow?

JIRI LUKAS: Architecture with attitude

Anyone who meets Jiri Lukas quickly realises that this is someone who does not allow himself to be driven by trends. The young architect from Liberec thinks about architecture from the perspective of the location – whether urban or rural – and seeks solutions that are clear, precise, and at the same time surprisingly timeless.

What sets him apart from many of his contemporaries is his uncompromising attention to detail: no transition, no joint, no piece of furniture is left to chance. In the SENSU project, an Asian café in Prague’s trendy Žižkov district, he shows how far this thinking can take him. Concrete, wood, linen, and stainless steel combine to create a space that conveys the intensity of matcha tea with the tranquillity of a Far Eastern tea room – right amongst the urban hustle and bustle.

Jiri Lukas represents a generation that considers context, material, and atmosphere with the same serious approach as that adopted when tackling the big questions of sustainability and longevity. It is precisely this combination that makes us curious to see more – because here, a signature style is developing that has the potential to leave a lasting mark on the Czech architecture scene.

Three questions for Jiri Lukas:

Is there an object you use every day and would never replace?
My notebook. I sleep badly if I don’t write down my thoughts or sketches in it. In our projects, it’s often Hans Wegner’s chairs – unobtrusively beautiful, functional, and timeless.

In a world that is becoming ever smarter and faster, what role does craftsmanship play?
A crucial one. Ideas and desires only become reality through skilled people. Without craftsmanship, there would be nothing we could truly enjoy.

What should design not be today?
Confusing. Good design must be understandable – ideally both in terms of reason and on an emotional level.

jirilukas​.com

STUDIO Œ: Design that invites conversation

Berlin duo Studio Œ, founded by Lisa Ertel and Anne-Sophie Oberkrome, moves between furniture, objects, and social gestures. Their work arises from a fascination with materials and everyday phenomena – whether wood, glass, or spelt husks – translating these into forms that tell surprisingly fresh stories.

Instead of chasing after one big statement, they look for moments that create encounters: with the characterful Roman glasses from the FAN collective, every toast becomes a conversation. And as part of the FARM GROUP, they developed the ​‘Silo Seat’, a seating solution that was conceived directly from everyday life on a farm and becomes part of the farm cycle.

These projects demonstrate what Studio Œ stands for: design as a philosophy that is precise in its use of materials but open in its application – thus creating spaces in which people perceive their environment differently, engage in conversation with one another, and try out new things.

Three questions for STUDIO Œ

If your designs had a language, what would they whisper, what would they shout?
They would whisper, ​‘Come closer…’ – because much of the meaning lies in the details. And they would shout, ​‘I am here – use me as you wish.’ Our design should partner with the user, not dictate.

What social gap do you want to fill with your work?
We don’t believe in one object that solves everything. But design can provide impetus – furniture that makes a statement, glasses that spark conversation, or seating that becomes part of an agricultural cycle. It’s always about more than function: it’s about togetherness, exchange, and new perspectives.

What would you never design – and why?
Basically, we exclude very little – even mundane things can become exciting when you rethink them. But of course, we would never design weapons.

studio​-oe​.com

JIRI KREJCIRIK: Reinterpreting decorativism

Prague-based designer Jiri Krejcirik belongs to a young generation that does not preserve European cultural heritage like a museum piece, but reinterprets it through a contemporary lens. His furniture, lighting, and glass objects interweave historical references with clear forms and a surprising twist – a language that brings tradition and the present into dialogue.

His pieces are created in close collaboration with Czech craft workshops, in limited editions, and with precision down to the smallest detail. Characteristic of his work are the finely balanced silhouettes, surfaces and structures, which make each object more than just a functional item: they become a portable story about time, material, and culture.

Whether it’s the sculptural items of furniture of the Nouveau Collection, which reinterpret Art Nouveau, or the Roots Altar, which stages memories and artefacts as if in a private ritual space, Krejcirik’s works always move in the space between applied art and free sculpture. This has earned him a place in leading international galleries such as Rossana Orlandi in Milan and Galerie Philia in New York.

What sets Krejcirik apart is his freedom in refusing to be pigeonholed. His designs are at once playful and austere, poetic and precise, personal and yet universal. This is precisely where their relevance lies – in the courage to reformulate the familiar and create objects with lasting power.

Three questions for Jiri Krejcirik

Is there an object that you use every day and would never replace?
My rulers. I collect them in different designs and materials because they are basic tools that combine form and function in the most practical way.

In an age where everything has to be smart, fast, and scalable, what role does craftsmanship play?
For me, it is indispensable. In a world saturated with digital technology, I am drawn to analogue forms, materiality, and the physical experience of things. Lasting value is created when you transform a vision into a tangible object.

What should design not be?
Superficial. Design should not just follow trends or aesthetics, but serve a purpose, respond to its environment, and have a lasting impact.

jirikrejcirik​.com

LARA BOHINC: feminine, sensual, radical

Slovenian-born, London-based designer Lara Bohinc is considered one of the most exciting voices of a new, cosmopolitan generation of designers. After studying at the University of Ljubljana and the Royal College of Art in London, she initially worked for Cartier before founding her own studio in 2016.

Her work combines sculptural forms, feminine elegance, and radical sensuality. Her objects range from furniture and lighting to objects and interdisciplinary collaborations – always with a focus on organic geometries and narrative symbolism. The collections from Bohinc Studio appear to be translations of natural phenomena, architectural fragments, and cultural archetypes into contemporary design.

Her pieces – from the cloud-like Anima Collection to the mythically charged Fallen Empire series (created in collaboration with Franco Serafini) or the handcrafted Betsy Collection for Uniqka – are characterised by a poetic balance of softness and strength. They are pieces of furniture that almost seem like living beings, lights that form sculptures from geometric lines, and objects that combine haptic presence with iconic imagery.

Bohinc’s attitude: Design can be emotional – seductive, sensual, full of character – and functional at the same time. In adopting this approach, she occupies a field that captivates both collectors and a wider audience.

Three questions for Lara Bohinc

If your designs could speak, what would they whisper and what would they shout?
They would whisper, ​‘Play with me.’ And shout, ​‘I’m here!’

What might an object that truly bridges a social divide look like?
To be honest, I don’t do my work to bridge social divides. And what might such a connecting object look like? Unfortunately, I don’t know.

What would you never design and why?
Never say never, but anything made of plastic is just not my thing.

bohincstudio​.com

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