3daysofdesign 2026
NOOM will take part in 3daysofdesign in Copenhagen as part of FORM IN THE MAKING, an exhibition exploring the space between industrial production and craft, serial design and one-of-a-kind pieces.
The exhibition will feature the Archipen and HELLO chairs, two NOOM pieces from the Botanical Microspace collaboration with The O Textiles and artist-designer Yevhen Lytvynenko. Inspired by Kyiv’s historic gardens and urban nature, the project brings floral motifs into a contemporary context, transforming the chairs into expressive pieces at the intersection of design, craft, and functional art.
📍 Gammel Dok, Ukraine House in Denmark, Strandgade 27B, Copenhagen
📅 June 10-12, 2026
ABOUT THE COLLABORATION: A Botanical Microspace collaboration rooted in Kyiv's historic gardens — and the quiet vocabulary of plants translated into contemporary upholstered furniture.
Botanical Microspace is more than a textile project. It is a research-driven exploration of Kyiv's historic gardens — their layered histories, decorative traditions, and the botanical motifs that connect the city's past to its present. Through this collaboration, NOOM brought that research into the domestic interior, translating it into patterns designed specifically for two chairs from its collection: the Archipen Chair and the Hello Chair.
The Archipen Chair — NOOM's sculptural dining chair designed by Kateryna Sokolova — wears a pattern inspired by the spirit of the Krister Gardens, a Kyiv green space historically known for cultivating rare fruits and vegetables. The fabric features cucumber motifs: a playful, unexpected nod to that agricultural heritage, translated into a contemporary decorative language. The palette runs deep teal and green, dense and layered, with small accents of yellow that give the pattern rhythm and life.
The Hello Chair — the fully upholstered, architecturally expressive piece from NOOM's HELLO collection, designed by Denys Sokolov — carries a quieter, more lyrical interpretation. Here, the subject is cornflowers: their tenderness, their vivid blue, and what Lytvynenko describes as their almost mystical quality. The pattern covers the chair entirely — seat, back, and legs — turning the object into something close to a wearable landscape.
Together, the two pieces demonstrate how radically different a botanical motif can feel depending on the form it inhabits.