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SPACES OBJECTS PEOPLE Volume XVI now live Our online gallery @arkkollekt
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For those who appreciate the pleasure of a beautifully made magazine, this is a lovely time to share Ark Journal with someone close to you, or perhaps add another volume to your own collection.
As the season of giving approaches, we're offering 10% off Volumes XV and XVI, automatically applied at checkout, alongside complimentary shipping on qualifying European orders. A little something from us to make sharing the stories and ideas within our pages even more enjoyable.
Explore the collection and find the full offer details and conditions at ark-journal.com.
05 Nov 2026
Cutlery is designed to disappear into the act of eating, yet there is plenty to notice once you begin looking at it as an object. Object: Cutlery Sets considers the knife, fork and spoon as a small but revealing field for design, where the requirements of the hand and the rituals of the table leave room for ornament, material experiment and personality. From Nifemi Marcus-Bello’s FKS, 3D printed in sintered steel, to the 1971 Uni/Unitre set by Carla Nencioni and Armando Moleri, familiar forms are pushed somewhere less expected.
Across the story, contemporary pieces sit alongside earlier designs to trace how designers continue to rethink objects whose purpose has remained largely unchanged. Scale may be modest, but the ideas are not, with each set offering its own answer to how we hold, eat and gather around a table. Seen together, the pieces reveal how the smallest objects at the table can hold ideas about use, ritual and the pleasure of making.
Read the full story in Ark Journal Volume XVI.
02 Nov 2026
For Nicolas Trembley (@nicolastrembley), provenance does not necessarily begin with a gallery. Throughout his home in Belvézet, objects arrive from flea markets, family cupboards and travels, their value found as much in previous lives as in authorship. In the winter bedroom, that instinct is distilled into a few pieces: bedding from Merci in Paris, a Noguchi lamp and a vintage stool picked up at a flea market. Elsewhere, his grandmother’s linen has been remade into curtains, a table belonged to his great-grandmother, while chairs once used in churches have found another purpose inside the house.
It speaks to an interest that reaches beyond collecting contemporary art. Trembley originally studied anthropology and sociology, and remains particularly drawn to utilitarian objects, things made to be handled and lived with. In Belvézet, these pieces continue accumulating their own histories, without losing sight of where they came from. Perhaps that is what makes the house feel personal: not everything needs to be important to earn its place.
Read the full story in Ark Journal Volume XVI.
Words Kanae Hasegawa (@kanaeintheair)
Photography Pauline Chardine (@pauline_chardin)
Styling Mathias Mentze (@mathiasmentze)
01 Nov 2026
In Athena Calderone’s (@eyeswoon) TriBeCa living room, pieces from different periods have found an easy place alongside one another. French Art Deco style club chairs flank the Monde Sofa and Pointue Side Table by Studio Athena Calderone (@studioathenacalderone), with Nate Antolik’s unframed 2024 painting Three Mannequins, Torso, Chair above. It is a room that reflects Calderone’s eye for bringing historical references into the present, while leaving room for something unexpected.
“It was important to make sure that there is some sort of conflict,” Calderone says. “I think design always has to have that.” Throughout the apartment, that idea appears in small decisions, as her own pieces enter into conversation with objects collected over time and the history already held within the rooms. Nothing needs to belong to exactly the same moment, which gives the home much of its character.
Read the full feature in Ark Journal Volume XVI.
Words Mary Holland (@missmaryholland)
Photography Billal Baruk Taright (@billaltaright)
Styling @colinking
31 Oct 2026
For Ramdane Touhami (@ramdanetouhami), curiosity has always been a serious pursuit. An idea can lead to a fashion label, a publishing house, an old letterpress workshop saved from closure, or an entirely new project because, quite simply, he wanted to see what might happen. It is an approach built around freedom and fascination, and one that has allowed the French Moroccan designer and entrepreneur to move between disciplines without losing the sense of discovery that first drew him to them. His measure for deciding what deserves his attention is instinctive: “whether it captivates me and makes me go Wow!”
Rome has given that curiosity a new setting. Since moving into Palazzo Borghese in 2025, Touhami has filled its extraordinary rooms with objects accumulated across different moments of his life, many of which had been waiting years to find their place. Yet the apartment is not solely a home for things already made. Touhami continues to design for it too, including the daybed and shelves pictured, which were made in India. His own pieces sit comfortably within a palazzo whose rooms have been evolving since the 16th century, adding another period to a building already full of them. As Touhami says, “The place where you are affects the way you live.” In Rome, that exchange appears to work both ways.
Read the full story in Ark Journal Volume XVI.
Words Kanae Hasegawa (@kanaeintheair)
Photography Marina Denisova (marinadenisova)
Art Direction Sigrid Gry Laursen (@s__g__l)
30 Oct 2026
Designer Ronan Bouroullec (@ronanbouroullec) has spent much of his career designing objects that have entered other people’s homes, yet his own reveals something more personal about how he wants to live. The French designer grew up outside Quimper in Brittany and, since leaving at 18 to study in Paris, has felt the pull to return. About a decade ago, he found a house set against a cliff at the entrance to a ria, with the Atlantic so close that its lowest level meets the water at high tide.
Bouroullec has kept the interior deliberately simple, opening up the former two houses and introducing a skylight so that light, wind and views can travel more freely through the rooms. In one of these spaces, his wooden MC15 Quindici chaise longue for Mattiazzi sits beside a barrier informed by the terrace railing outside, while elsewhere pieces from more than 30 years of his practice remain in everyday use. The house is also a place where Bouroullec can withdraw, draw or spend hours watching a landscape that, with every tide and change in weather, refuses to stay the same. It is perhaps this transience that gives the home its character, a place closely tied to where he came from, while continuing to change around the life he lives there now.
Read the full story in Ark Journal Volume XVI.
Words Sisse Bro (@sisse_bro)
Photography Ronan Bouroullec (@ronanbouroullec)
29 Oct 2026
Minjae Kim’s (@mnjaekim) home offers a different way into his work. In his Brooklyn brownstone, his own furniture sits among pieces made by people close to him, including paintings by his mother, MyoungAe Lee. In the living room, one hangs above a wooden marquetry floor lamp by Shaina Tabak (@shainatabak), while another appears alongside one of Kim’s earliest fibreglass chairs. The arrangement feels personal rather than composed for display, with family history entering naturally into the visual language he has been developing since establishing his independent practice.
That closeness between art and everyday life is important to Kim, whose furniture often begins with familiar forms before taking a stranger turn. Fibreglass, wood and other materials become a way of testing an idea without resolving it too neatly, while the home gives those experiments another life once they leave the studio. In Ark Journal Volume XVI, we visit Kim in Brooklyn and find a practice that continues to make room for memory, humour and whatever might happen next.
Read the full feature in Ark Journal Volume XVI.
Words Camille Okhio (@cokhio)
Photography Clément Pascal (@CGBP)
21 Oct 2026
There is no fixed end point in Minjae Kim’s (@mnjaekim) work. A chair or sculpture can leave the studio and still remain open to his hand, with new interventions becoming part of its continuing life. “At any moment I can get back to work on my pieces and there wouldn’t be a fracture between the new and the old,” he says. “There’s just a continuation of process.”
Kim calls this quality “intentionally unresolved”, an idea that has stayed with him as his practice has grown from early experiments in Brooklyn to work held in museum collections. He finds possibility in leaving the door open, allowing an object to accumulate another gesture or material over time. Completion is something fluid, with each piece carrying the possibility of another idea, another intervention, another life.
Read the full feature in Ark Journal Volume XVI.
Words Camille Okhio (@cokhio)
Photography Clément Pascal (@CGBP)
20 Oct 2026
Akola manor has been part of architect Teemu Kurkela’s (@teemukurkela) life since childhood. The 18th century timber manor in northern Finland belonged to his great grandfather, and Kurkela spent summers there long before he inherited the house in 2017. By then, years of repair had already taken place, following a period when the building had come close to being lost. His own renovation became deeply personal, guided by a desire for Akola to remain recognisably a farmhouse while finding a place in contemporary life.
That history has been allowed to remain visible. On the first floor, Kurkela describes rooms as “half ruins”, with old wall treatments exposed like an archaeological exploration and the restored double stove carrying traces of an earlier decorative scheme. New interventions are deliberately legible, including custom staircase bannisters that follow his minimalist approach, so the house can reveal what belongs to its past and what has arrived since. There is something compelling in that incompleteness, particularly for a house that Kurkela now hopes will enter another chapter of its long life.
Read the full story in Ark Journal Volume XVI.
Words Aino Frilander (@ainoainoaino)
Photography Tijs Vervecken (@tijsvervecken)
Art Direction Sigrid Gry Laursen (@s__g__l)
15 Oct 2026
Tobia Scarpa has spent more than seven decades making architecture and objects, although he has little interest in defining himself by either discipline. The Venetian architect and designer, born in 1935 and the son of architect Carlo Scarpa, has built a practice around something more fundamental: understanding beauty through matter. “I don’t know what it means to be a designer, an architect, this or that,” he says. What matters instead is making things that give something of themselves. Now in his early nineties, Scarpa continues to work, carrying with him knowledge learned through family, craftspeople and a lifetime spent close to materials.
For Ark Journal Volume XVI, Marco Sammicheli (@mrsammicheli) considers Scarpa through four projects, including Casa Scarpa, the home he created with his wife Afra Bianchin in 1969, and Ca’ Scarpa in Treviso, where his own legacy meets that of his father. Across different periods, the same thinking persists: a slow, artisanal approach in which time is allowed to enrich a building rather than being designed away. “Beauty manifests itself through matter,” he says, a belief that perhaps gets closest to understanding a practice that has always resisted easy classification.
Read the full story in Ark Journal Volume XVI.
Words Marco Sammicheli (@mrsammicheli)
Photography @alessandrachemollo
13 Oct 2026
A marble-topped console holds faces from Roman Portraits, the 1940 Phaidon book, while fragments of antiquity appear throughout Ramdane Touhami’s (@ramdanetouhami) home in Palazzo Borghese. It is an interior where one period is continually meeting another, something Touhami finds especially compelling about Rome itself. The city drew him in because its history has never settled into a single era, and inside his apartment he follows much the same instinct, allowing objects with very different lives to exist together without attempting to make them belong to one moment.
There is also a certain freedom to the way Touhami lives with things. He is uninterested in the social rituals of collecting, choosing instead according to beauty, curiosity and the immediate pleasure of being captivated. Some objects have waited years to find their place, while others may move again, giving the apartment the feeling of a home still being written rather than a finished interior. In Ark Journal Volume XVI, his rooms offer a particularly personal way of thinking about history: something to live amongst, add to and carry forward.
Read the full feature in Ark Journal Volume XVI.
Words Kanae Hasegawa (@kanaeintheair)
Photography @_marinadenisova_
Art Direction Sigrid Gry Laursen (@s__g__l)
08 Oct 2026
A good magazine, much like a good cup of tea, deserves a little time. @tea_collective is a global wellness brand rooted in Korean tea culture, bringing a contemporary sensibility to the rituals that surround tea, from how it is prepared and served to the pause it creates within everyday life. There is an appreciation for craft and considered living that feels naturally at home with Ark Journal.
For the month of October only, current and new Ark Journal subscribers will receive an exclusive discount with Tea Collective. Subscribe to receive both annual volumes of Ark Journal, alongside priority shipping and Friends of Ark Journal benefits throughout the year, and enjoy something special from Tea Collective along the way.
Subscribe via the link in bio.
05 Oct 2026
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