WORDS Gina Dionisio PHOTOS Supplied

Making its debut at Cape Town Furniture Week 2026, the LES AMIS coffee table exemplifies both OKHA’s architectural design language and creative director Adam Court’s exploration of the relationship between form and materiality.

The name LES AMIS – ‘friends’ in French – captures the essence of the design: two presences held in calibrated alignment, animated by closeness. “I was interested in how two forms could remain distinct, yet only make sense through their relationship. The table is resolved through proximity, balance and reliance rather than through a single dominant gesture,” explains Adam.

The juxtaposition of stainless steel and titanium granite amplifies an energetic exchange that runs through the design’s material narrative. “One reflects and sharpens light, the other absorbs weight and time. Placing them together creates tension and clarity at the same time,” says Adam. Together, the materials hold past, present and future within a single form. “Cool materials are central to how we design at OKHA. Stone and metal carry weight, temperature and memory. They register physically. LES AMIS is an expression of that material intelligence, where restraint and precision allow the object to hold presence without excess.”

Proportion and geometry also play a vital role in anchoring the design within a living space. Low and architectural, the measured interval between the table’s volumes creates depth. “The relationship between the two volumes generates three horizontal planes, which gives the piece function without disrupting the clarity of the geometry. The leg detail lifts the stainless element just enough to introduce lightness,” says Adam. | okha.com

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WORDS Gina Dionisio PHOTOS Supplied

Creative Director Adam Court brings his signature touch to OKHA’s new modular seating system by challenging traditional perceptions of form, comfort, and modularity.

As a continuation of his exploration of lounging landscapes – seen in earlier OKHA sofas like REPOSE – ZONA extends this repertoire.

Departing from rigid, orthogonal norms, Adam has reimagined modular seating as a topographic, human-centric landscape with soft geometry and soft curves that embrace and elevate the lounging experience. Inspired by nature, organic modernism, classical figurative sculpture and particularly works of Henry Moore, he brings a hint of romance to ZONA by enhancing its emotional appeal.

ZONA’s design centres around a unique tri-element junction where the arm, seat, and back intersect. These elements dock and overlap like an anatomical joint – each defining its own form while contributing to a cohesive whole. The recessed plinth is a key innovation. Subtly curving inward where the modular units connect, the plinth continues the language of motion and transition echoed throughout the design.

With two iterations: ZONA Landscape – two sections that, when combined, created a curved sofa – and ZONA Module, which can be configured as a straight linear sofa or with add-on modules to create an L-shaped unit, ZONA is adaptive and versatile for both expansive living spaces and smaller city apartments.

Available in fully upholstered or timber finishes, the plinth not only supports the form but anchors the piece visually. | okha.com

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WORDS Steve Smith PHOTOS Supplied

When it comes to high-end contemporary furniture that borders on the sculptural, OKHA sets a path locally. With creative director Adam Court at the helm, its design language is bold, exploring the potential of natural materials like metal, stone, marble and wood – and not afraid of forms that are organic and curved as well as linear.

Tribe is the name of OKHA’s first-ever outdoor range, though these furniture pieces have the kind of substance that makes for a statement indoors as well. We sat down with Adam to find out more about Tribe’s genesis.

Where did the inspiration for the range come from?

“I visited the London Design Biennale at Somerset House in 2023, an exhibition of design-led innovation from across the globe that featured works from more than 40 countries. Among the pieces on show was a traditional wooden loom from Saudi Arabia. I was struck by its simple beauty, its perfect logic; it was profoundly pure – a wonderfully honest exercise in materiality, form and function. It was made up of the simplest wooden elements that stacked and connected with one another in the humblest harmony, yet it was powerful. It felt almost biblical.

“I stored that image in my mind because I knew I wanted to do something with it. It lived there, germinating, until something triggered it mid-2024. Perhaps a space opened up in my mind that allowed it to resurface, or perhaps it was just ‘ready’. Once that image and concept resurfaced, I did some additional design work on its scale and proportion, and the idea of a surface relief motif. I took the basic, quite rudimentary physical construction of the original loom as inspiration, and worked it into the foundational structure of each piece of the Tribe collection.”

What specific cultural elements have you incorporated into Tribe’s designs, and how do they complement one another?

“The Clash table is still, and probably always will be, alive and kicking in me. It’s a limited-edition bronze coffee table we created in 2023, and it has an attitude and ideology that relates directly to punk fashion and African culture. It was an intuitive, unquestionable decision to apply the studded relief motif from Clash to Tribe; it just made sense.

“The pyramidal stud motif was originally drawn from two seemingly contrasting cultures – punk and African tribal culture. It’s an element that’s common in punk fashion, and it forms an integral part of African culture in carvings as well as body scarification. Two cultures that are worlds apart both use the motif as a sign of identity, of proud kinship and community, of belonging to a particular tribe… Effectively, they share a voice and sing the same song.”

The punk movement is oft en associated with rebellion and non-conformity, while traditional African aesthetics are deeply rooted in heritage. How do these opposing ideas coexist in your designs?

“Valid point. To be frank, my angle on punk and African culture focused on kinship, bond, community and identity. True, punk was the voice of discontent, rage and rebellion – a sub-culture wanting and actually bringing about change to the deadlocked, blind and blinkered status quo that existed in the UK at the time – and it tore down emblems of UK heritage in many ways. Heritage can hold up valuable principles and learnings, but it can also constrict, limit and fester when misused. Is heritage a static thing? Or a constantly moving and evolving thing? In fact, hasn’t punk become part of the UK’s heritage? Isn’t that ironic…”

What types of wood and materials have you chosen for this range? How do they reflect the concept?

“Although the designs and forms are simple, I wanted them to look and feel finely made. I wanted the wood to be lovingly and adoringly crafted by hand. I think the designs express that – certainly when you touch the works. The wood surface is silken, the raised studded relief feels wonderful to the touch… It leaves an impression both physically and emotionally.

“There is one machined detail: the studded relief. I originally intended for these to be hand-carved using traditional methods, but the reality of larger production, assured quality, timelines and cost quickly made me realise this wasn’t realistic, and that they needed the accuracy and perfection of CNC.

“I believe that all objects that are crafted from natural materials and worked by hand carry, and are embedded with, an emotional resonance. This translates into the works having a gravitas, a presence. I hope that through its form, proportion, method, materials and feel, Tribe communicates a soulfulness, the presence of work of the human hand – the human spirit.

“Ash and French oak were chosen for the indoor versions of the pieces. Ash stains beautifully and has a long, sinewy grain, which comes even more alive when the stain is dark. French oak is a beautiful wood – you can work the surface finely until it’s glassy and smooth to the touch, and its colour is so delicate and nuanced. It’s also a timber associated with ‘fine’ classical furniture, and I liked the idea of stark, almost brutal designs to be worked in a classical timber and so finely finished. I enjoy playing with and mixing opposites. The design style and visual language of Tribe is in wonderful contrast to the more common associations of French oak.

“Iroko or African teak was the ideal choice for the outdoor versions – it’s rich in colour when oiled, and it feels ‘African’.”

Give us insight into some of the technical aspects of the range … the joinery etc… what were the technical challenges and how do you solve them?

“Wood expands and contracts, it absorbs moisture and expands, it dries out and contracts; this movement is normal and natural but can cause problems. To limit this movement we laminated the heavy set bases and the large cylindrical sections, but you have to laminate the right way to minimise movement. Water drainage on the outdoor versions was also a factor to resolve, we’ve used very subtly inclined surfaces in the relief sections so water falls to drainage channels. The quality of timber you are working with is also critical. We used the best we can source in SA which is imported directly by our factory.”

How do you ensure the designs are functional and durable for outdoor use while staying true to the artistic vision?

“Tribe is fully functional, its design principles are based the simplest of geometrical forms that engage and relate to one another in a logical manner. The bases are strong, they stack form on form that supports a horizontal plane, they couldn’t be simpler. Brutal simplicity, brutal poetry. Re Outdoors, research and selecting the most appropriate timber is critical.” 

Who do you envision as the ideal audience for this collection, and how do you think they will respond to its bold aesthetic?

“Tribe are both functional and practical designs and bold, expressive works. I can see Tribe in residential interiors, in luxury resorts, wellness and spa environments. The collection has an acutely defined aesthetic but simultaneously manages to express, myriad references and cultures (as you commented, it has a Japanese minimalist tonality) as well as feeling both heritage and rebellious. It speaks a genuine and also universal language that I hope all types will respond and connect with.”

Do you see this range as a standalone artistic statement, or is it part of a broader narrative for OKHA’s future designs?

“I think the narrative has more room to grow – certainly the brutal, sculptural aesthetic is one that I intend to explore and work with further. I love its elegant primitivism; it expresses so much with so little, and it’s honest, real and raw. This is why I believe Tribe is connecting with audiences the way it is. It’s not bullshit – it’s got an authentic narrative, humility and presence. What a wonderful combination!” | okha.com

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The clean lines, functional form and luxurious natural wood of OKHA Design Studio’s newest addition, the COSMO armchair, pay homage to the raw beauty of Tropical Modernism.

The distinct mid-20th century architectural and design style made famous by Brazilian architects like Oscar Niemeyer and Lúcio Costa informed the robust character of OKHA Design Studio‘s new armchair. The juxtaposition of the raw geometry and direct beauty of Tropical Modernism in the COSMO armchair make it a truly intriguing piece of furniture.

Like all OKHA Design Studio’s pieces, the COSMO armchair has a clearly defined character and attitude. The striking relationship between the slopped, upholstered seat and its three supporting legs is the central focus of the chair’s design. With an intentionally rough seat and base in contrasting materials, the strong proportions and grounded profile of the chair make for a unique, supportive, functional piece.

The COSMO’s standout feature is its broad-planed legs. The two at the side with a single leg in the middle at the back expressed in walnut or ash, create a trilateral cradle of support for the seat. “The extreme proportions and surface area of the legs are intended to pull the viewer’s eye to the nature of the wood and give practical presence to the luxury of that material,” says Adam Court, OKHA Creative Director. | okha.com

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Complimenting ARRCC’s design for the Architectural Scenarios exhibition at Milan Design Week 2024, OKHA Design Studio showcased a collection of sculptural furniture pieces.

OHKA’s Sculpted Forms Collection, comprised of the Repose Chaise, Reposer Armchair and Cut Forms side tables, formed a sophisticated hybrid seating area complimenting ARRCC‘s luxurious Valcucine kitchen setting for Milan Design Week 2024.

Newly launched, the Reposer Armchair continues the aesthetic mandate begun by OKHA‘s Repose collection of seating. Designed with comfort in mind, the Reposer’s asymmetrical form is naturally versatile, encouraging a formal freedom of arrangement that suits the dynamic requirements of contemporary living spaces.

Both feminine and futuristic in feel, the Reposer’s composition of curvy forms, colour nuances, and asymmetry is a subtle nod to the retro-modern mood of sophisticated lounge culture.

The electropolished metallic finish of the Cut Forms sides tables transcends time and place. Made from polished steel, the tables are an ode to positive and negative space. To create Cut Forms, OKHA Creative Director Adam Court coaxed a new totemic, futuristic and reorganised mass by cutting away at the rectangular block.

“This is not about destroying one form to make it speak but creating a new form with another language,” says Adam.

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Outlining exactly what goes into making a high-end piece of designer furniture, OKHA’s designer and director Adam Court tells us about Naut, the studio’s new Brutalist armchair.

The Idea

“The inspiration for this chair came from a conscious move away from the curvaceousness of our Repose and Reverb sofas. I love geometric shapes – stacking forms and creating a module shape – and this chair is exactly that. I was playing with blocks, rearranging them until they started to sing – until they had a certain sort of vibration in their composition. There’s a simple logic that starts to take place in the way the shapes interact, the way one shape cuts into another, how the shapes are cradled in the base block of wood.”

The Creative Methodology

I don’t use computers when I design. It’s pencil on paper. I use tracing pads and draw lots and lots of sketches very quickly to get all the ideas out. I will probably do 20 or so in an hour – all slightly different. I’ll then pick three or four, lay over those and draw them again. I’ll keep narrowing everything down until I have one version to keep working on. I also always work on a side elevation. You don’t want to work on front views; they’re generally awful. There’s no poetry in the front view of a chair. It’s the side elevation where things really get interesting… At that point, I start to look at the other views.”

Ergonomics and Engineering

“I only think about this when I’m getting close to the final form. Then it’s like, ‘Okay, how am I going to actually make this thing? What is the engineering reality of this?’ And ergonomics are really important too: the incline of the seats, the seat depth and its relationship with the armrests, the height of the back and how it interacts with your shoulders… I’ve designed a bunch of chairs over many years, so I know what the seat depth should be, and how a six-, seven- or eight-degree angle is going to help on an armchair.

“Finally, we’ll model it up with a very simple 3D model – I may make a few more changes – then start to play with materials to see what it would look like in different timbers and fabrics. From there, our manufacturers in Portugal will make up a sample.

“I was in Porto some time ago, and I sat in Naut for the first time. It was fantastically comfortable. We’d usually make adjustments or edits to the sample, but this felt really good right away. There’s a sense of satisfaction in that.”

Materials

“There’s a long tradition of high-quality furniture making in Portugal, so I talk to our partner there about the subframe, foam and fabrics. They’ll only use birch plywood – which is incredibly robust and resistant to humidity and temperature changes – for the subframe; there’s no MDF or chipboard. It’s also not just one slab of foam, but three different laminates. Each has a different weight pressure tolerance, with the top layer including around 30mm of memory foam.

“And then the fabric we want to use for upholstery… What’s most suitable for the form in terms of spread, stretching and give? I wanted something with a heavy texture, like a boucle, to soften the design; we chose this from UK-based fabric house Romo. Finally, for the timber base, I wanted a solid piece of timber – not a laminate or veneer – and we settled on solid ash with a carbon finish.”

A New Direction

“I love that this piece is bold, blunt and unapologetic. You can’t mistake it for anything else. It just is what it is – it has a clearly defined character and attitude, which I really like about it. It’s quite Brutalist, which is a direction I’m going to explore further; it’s more rudimentary and almost primitive, in a way. Hopefully, we can turn this into a sofa concept as well, and extrapolate a family out of it.”

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CLASH, a new limited-edition collaboration between OKHA Design Studio and Bronze Age, blurs the boundaries between art and functionality.

The latest addition to OKHA‘s collection defies conventions with its punk attitude and poetic essence. CLASH, a limited-edition table cast in bronze by Bronze Age, reflects the rebellious spirit of OKHA’s Creative Director, Adam Court, who has been leading the design studio to produce groundbreaking pieces for the last 16 years.

Adam has admired Bronze Age’s work for years, so working alongside the talented Charles Haupt on CLASH was a natural decision. “Their expertise and contribution were vital in bringing the design to life. The intricate engineering required to create the bronze masterpiece posed a complex challenge, leading us to build a full-scale mock-up using life-size 3D printing and constructing an entire table from these segments. The result is a testament to the dedication and ingenuity of the team,” he says. 

There are subtle, subconscious references to Adam’s distinct taste in music, jewellery, cinema, fashion, and photography in all his furniture pieces, making them very personal. “Without consciously being aware of it, my designs are about my history,” explains Adam.

The table series will form part of an exciting upcoming exhibition of unique statement pieces that will mark the opening of STUDIOTWENTYSEVEN’S new gallery in New York.  As a gallery known for its discerning eye for collectable design, STUDIOTWENTYSEVEN is dedicated to showcasing unique and cutting-edge pieces, and has become a destination for collectors.  

There are only 12 tables available worldwide (exclusive to STUDIOTWENTYSEVEN), with each numbered and accompanied by a certificate of authenticity, making CLASH an enticing inclusion to any discerning art and design collection.

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Leading interior design brand Okha’s Laguna coffee table melds art, abstraction and application. 

Entitled Laguna – the Spanish word for “pond” or “lagoon” – this piece was initially commissioned by ARRCC for Cheetah Plains, a luxury safari destination in Sabi Sands. Its meandering form and smooth black metal top are inspired by the still depths of a dark pond, making for a design that adds an element of mystery to any living space.

Laguna can be custom-made in a range of materials, including stone, metal, mirror and reinforced glass. As Okha Creative Director Adam Court explains, the legs and table body will always be made from two different finishes or materials, because each represents a different physical element. “The flat horizontal surface of the table (‘water’) is enveloped by the surrounding ‘landscape’ that rises above the surface,” he says.

For more information, visit okha.com.

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Designer Adam Court of Cape Town-based studio OKHA is behind the creation of a new side table and coffee table, made from Verde Magnifico marble.

The two expertly handcrafted tables showcase the marble’s visible layers, highlighting the geological makeup of Cape Town and South Africa. This informed Adam’s decision to use these metamorphic rock resources.

With an earthy red hue, the marble used for the coffee table is known as Flame Travertine, which can be seen in many South African stone and rock formations. The surface of the table sits on Larch timber legs. The green triangular side table plays on ancient symbolism, seated on large Brutalist-inspired Larch timber legs.

For more information, visit okha.com.

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Cape Town-based design studio OKHA has released a pair of side tables designed by Adam Court to be “an assembly of elements, a visual Haiku, the fewest amount of syllables expressing the maximum possible”. 

The Rational table appears to be an exercise in absolute reductionism: It gives the impression of being composed of a basic structure, but as you look a bit closer you can see its complexity. Made of four wafer thin waxed mild steel plates, its subtle A-frame form’s light appearance belies the heavy metal makeup. It is, in fact, a paradox of Deconstructivism and Constructivism.

Made of the same metal, Irrational stands slightly taller and features rows of circular precision cut-outs, which lend it a Jean Prouvé industrial feel.The raw mild steel (carbon steel) form has been naturally oxidised and waxed multiple times to bring a delicate, sensitive patina.

Take a look at some of OKHA’s other exceptional designs here.

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