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LI/NE and iN STUDIO team up for a good cause and great design

This month, Contemporary Office Interiors, in partnership with MillerKnoll, the Eames Office, and ARIDO, has launched a noteworthy fundraiser that merges design and philanthropy in a creative way. Chairs for Charity brings together ten design firms to reimagine the iconic Eames Molded Plastic Chair, transforming the classic piece into unique works of art. Each redesigned chair will be auctioned to support scholarships for ARIDO BID students across Ontario, with a focus on equity, diversity, and inclusion.

Chairs for Charity Toronto
Chairs for Charity Toronto

One standout design comes from a collaboration between LI/NE and iN STUDIO. The duo crafted an innovative slipcover made entirely from upcycled boat sails, a sustainable material that aligns with their ethos. This slipcover, meticulously pieced together from nearly 200 pattern pieces, elegantly contours the curves of the chair.

Eames redesign
LI/NE design studio, Toronto furniture

Rather than simply adding embellishments, this reinterpretation of the Eames chair focuses on elevating its original aesthetic while introducing a tactile, eco-conscious layer. The slipcover’s intricate construction highlights the skill and creativity of both design teams, offering a fresh perspective on a timeless classic. In keeping with the values of sustainability and craftsmanship, the upcycled material used in the slipcover demonstrates a thoughtful approach to contemporary design challenges, making this piece a testament to innovative problem-solving in today’s design world.

Vitra Session 'Eames'

The Chairs for Charity auction is now live and will culminate at 8PM on October 24 with an in-person event at the MillerKnoll Toronto showroom.

In addition to supporting a great cause, the event highlights the intersection of design and social responsibility. It provides a platform for designers to showcase their creativity while contributing to the future of interior design through scholarships that emphasize inclusion and diversity.

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Okay, but it clearly is

For the first 16 years of my life, the bat cave at the Royal Ontario Museum (ROM)—a reconstruction of an actual cave in Jamaica—was among my favourite places in the city. The cave was decorated with cast stalactites and wax bat models, which hung from the ceiling and threw jagged shadows on the walls. A few other features imbued it with spooky verisimilitude: the drip-drip-drip sound effects, the mirrors arranged to create the illusion of infinite depth, the strobe lights strategically placed to make the shadows flutter. When I visited as a five-year-old, the bat cave scared me. When I visited as a stoned fifteen-year-old, it scared me even more. Then came the renovation.

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