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What began as a meeting between like-minded designers has evolved into a collaboration that brings a distinctly South African perspective to one of the world’s most influential design stages.

Cape Town-based studios SAOTA and OKHA, together with YARDCOM, a global leading supplier of outdoor furniture, have conceived an immersive spatial installation for Salone del Mobile.Milano 2026 that explores architecture, interiors, furniture, and landscape as a single integrated system. This marks the first time a South African architecture practise will be designing a pavilion at the prestigious showcase.

Designed by SAOTA principals Greg Truen and Dani Reimers, with team members Lu Ke and Zander Deysel, the pavilion draws on the culture of outdoor living that characterises many South African homes, presenting a spatial experience that prioritises movement, proportion, and atmosphere.

“Rooted in the ideas behind SAOTA’s Kloof House, the pavilion expresses the belief that architecture should operate as an open system rather than a closed object. Layered, interconnected spaces create a dialogue between people, building, and landscape, deepening the connection to place,” says Greg Truen.

For the pavilion, OKHA has developed a bespoke furniture collection for YARDCOM titled ‘Forma Lenta‘. Developed through OKHA’s Design Under License model, the collection brings the studio’s architectural design language into an outdoor context.

The collection includes sofas, armchairs, daybeds, and tables, conceived to move seamlessly between interior and exterior environments.

Defined by grounded forms and a quiet material refinement, ‘Forma Lenta’ establishes a measured dialogue with the architecture and reinforces the pavilion’s emphasis on cohesion and restraint. “The pavilion allows the furniture to be experienced in relation to space, light and movement, rather than as isolated pieces,” says OKHAs creative director Adam Court.

A defining feature of the collection is its use of bronze-finished, gunmetal, and soft-gold aluminium, an uncommon choice in outdoor furniture. “It allowed the work to move beyond a purely performance-driven expression,” explains Adam. Combined with refined etched surface treatments, the material introduces depth, patina, and a subtle interaction. “The etched finish softens the surface and changes how it interacts with light, so the pieces shift subtly over time. That introduces a sense of duration – something closer to architecture or even artefact than conventional outdoor furniture,” he adds.

For those heading to Milan for Salone del Mobile.Milano, you’ll find the collaborative pavilion in Hall 18 from 21–26 April 2026. saota.com | okha.com | yardcom.net

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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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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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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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As a leading furniture design studio OKHA are committed to shining a light on the level of craft and innovation that is propelling Cape Town’s design scene onto the global stage.

OKHA‘s recent Convergence of Creativity Exhibition, which formed part of this year’s Cape Town Furniture Week programme, was a showcase of the craftsmanship and design work emerging from studios across Cape Town.

The exhibition featured a diverse line-up of acclaimed artists and designers, including Jan Ernst, Willowlamp, WaterDixon, Vitalli, Zander Blom. Each piece selected exemplified the unique perspectives and talents of leading local talent influencing interiors around the world.

The Convergence of Creativity Exhibition culminated in the showcase of works made in collaboration between OKHA and Jan Ernst; a multidisciplinary artist whose work is a harmonious blend of organic forms and abstract sensibilities.

We chatted to Jan to find out more about this exciting collaboration, entitled Synergistic Harmony.

Can you elaborate on how your collaboration with OKHA reflects the fusion of divergent design aesthetics and a shared vision for exploring form, function, and emotive vibrations?

At its core, our partnership celebrates the harmonious coexistence of contrasting design languages, resulting in a dynamic synthesis that pushes the boundaries of creativity.

While OKHA’s design ethos leans towards sleek architectural minimalism and refined elegance, my studio’s aesthetic is characterised by soft organic forms and expressive textures found in nature. Despite these apparent differences, our collaboration thrives on the principle of unity in diversity.

Through meticulous dialogue and mutual exploration, we discovered by embracing the tension between divergent styles, we could unlock new avenues for creative expression, allowing form and function to intersect in unexpected ways.

Central to our collaboration is a shared commitment to imbuing our creations with emotive vibrations – evoking visceral sensations, and experiences that transcend the physical realm. Whether through the tactile allure of sculptural forms or the subtle interplay of light and shadow on the plinth’s surfaces, each piece in our collaboration tells a story, inviting viewers to engage with it on a deeply personal level.

Moreover, our collaboration extends beyond the realm of aesthetics, encompassing a shared vision for innovation and pushing the boundaries of design. By harnessing our collective expertise and leveraging cutting-edge technologies, we strive to create objects that not only captivate the senses but also inspire and provoke thought.

In essence, the collabortation represents a harmonious fusion of divergent design aesthetics united by a shared passion for exploration and creativity. Through our collaborative efforts, we seek to redefine the relationship between form, space, function, and emotive vibrations, forging a path towards a more interconnected design landscape.

What inspired the title Synergistic Harmony for your collaboration with OKHA, and how does it encapsulate the essence of your artistic partnership?

This is all Adam, but I think that title captures the essence of the collab, divergent design aesthetics united by a shared vision that explores and express form and coexist harmoniously. 

How did Constantin Brancusi’s approach inspire the synergy between geometric and organic elements in your collaboration with OKHA?

Constantin Brancusi’s approach to art has long served as a profound source of inspiration for me, particularly in our collaboration with OKHA where we aimed to synergise geometric and organic elements.

Brancusi’s dedication to preserving the integrity of his art, as evidenced by his desire for his works to be exhibited exactly as they were in his studio, resonated deeply with me. His belief that the display surface is an extension of the artwork itself underscores the importance of the relationship between sculpture and plinth.

Brancusi ingeniously utilised this relationship to create a dialogue between the organic forms of his sculptures and the geometric simplicity of his plinths. This interplay resulted in a dynamic contrast, akin to a yin and yang, where the organic and geometric elements complemented each other harmoniously. 

The collaboration with OKHA involves responding to architectural CUT FORMS designed by Adam Court. How did you approach integrating your sculptures with Court’s plinths to create a cohesive narrative within the exhibition?

Integrating my sculptures with Adam’s architectural cut forms presented a unique challenge, but also an exciting opportunity to create a cohesive narrative within the exhibition.

His design aesthetic, characterised by its geometric and architectural nature, starkly contrasts with my own artistic style. However, rather than viewing this as a hurdle, I approached it as a chance to explore new creative avenues. Drawing from my background with a master’s degree in architecture, I found a natural affinity for responding to the plinths.

Rather than seeking inspiration from nature, as I typically would, I adopted a methodology akin to architectural design. I analysed the sculptural plinths as if they were landscapes, discerning visual cues such as lines of energy, recesses, highlights, and subtle shadows. These architectural elements served as the foundation for my response.

However, my approach extended beyond mere mimicry. I imbued the organic shapes of the sculptures with a sense of life and spirit, infusing them with what I like to call “souls.” This conceptual twist led to the creation of sculptures named Animism 01 and 02, which seamlessly melded with Court’s designs while adding an additional layer of depth and meaning to the exhibition.

Can you share any specific challenges or breakthrough moments you encountered during the collaborative process with OKHA, and how did they influence the final outcome of the exhibition?

Collaborating with OKHA presented us with both challenges and breakthrough moments that significantly impacted the final outcome of the exhibition.

One of the most significant challenges we encountered was finding the balance between collaboration and maintaining our individual artistic integrity. When we embarked on this project over a year and a half ago, we initially struggled with this. We even reached a point where we had to pause the collaboration because it felt forced and lacked authenticity.

However, this hiatus proved to be a breakthrough moment for us. During this time, we reflected on our approach and realised that the true essence of collaboration lies in celebrating the uniqueness of each party involved rather than trying to merge our aesthetics. It was a realisation that allowed us to embrace our distinct artistic styles while finding common ground to create something truly exceptional.

By embracing our individual strengths and artistic identities, we were able to infuse the exhibition with a diverse range of perspectives and creative expressions. This approach not only revitalised our collaborative efforts but also elevated the final outcome of the exhibition.

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Crafted by the renowned South African design studio OKHA, the Repose sofa has not only captured the hearts of discerning homeowners but has also been handpicked by leading interior designers globally for key projects around the world, from streets of New York to the vibrant cityscape of Sydney.

In the ever-evolving landscape of luxury furniture, the OKHA Repose Sofa has emerged as a global icon, celebrated for its perfect blend of comfort, style, and craftsmanship. Popular with interior designers who want to combine modern and classic design styles, the sofa’s sensual contours and seductive lines make it the perfect addition to any room.

“I was drawing something freehand, loose and fluid and not thinking about the end result and where it was heading, the shape created itself, then I coerced into something you rest and recline on”.

Adam Court | Creative Director, OKHA

The timeless silhouette of the OKHA Repose Sofa makes it a versatile and elegant choice for high-profile projects. This sofa has found its way into the blueprints of some of the most prestigious projects, turning living spaces into curated masterpieces. From chic penthouses in Manhattan to luxurious coastal residences in Sydney, the sofa has become synonymous with refined taste and uncompromising quality.

“Repose is a truly unique and beautiful sofa. OKHA has designed it to be viewed from every elevation to enhance the distinct shape which makes it instantly iconic and perfectly complements our design philosophy. This is why we  represent it”.

Nacho Polo Director of leading design gallery Studio TwentySeven. 

The global acclaim of the OKHA Repose Sofa isn’t just based on its visual appeal alone; it’s a testament to the comfort it brings. The adaptable ergonomic design and generously padded cushions make it ideal for luxurious liveability.

From penthouses in the heart of New York to beachfront residences in Sydney, the OKHA Repose Sofa has become a global statement of luxury. Its presence in key projects around the world not only speaks to its design prowess but also to its ability to transcend aesthetic boundaries. 

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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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Not your traditional luxury lodge, Cheetah Plains redefines the conventional, translating urban sophistication into the bush.

With his work well known for its modern clean lines, celebrated architect and ARRCC director Stefan Antoni may not be the first name that springs to mind when looking for someone to design a game lodge in the famous Sabi Sands Game Reserve. It’s a choice that has nonetheless translated impressively well, creating sophisticated structures that manage the difficult trick of being different enough to stand out, yet still blending into the surrounding environment. Natural materials complement the shuttered cement with feature walls of hand-packed mica, panels of rusted Corten steel, stone and wood, helping it sit comfortably amid the scenery.

To create separation and to help preserve the large trees on the site, Stefan fractured the buildings to better fit into the landscape. From the small gym, three main structures fan out, each containing a generous wine cellar, a library, and an open-plan lounge, dining and bar area that overlooks a pool and boma. Named Mapogo, Karula and Mvula after famous wild cats that have been a significant part of the history of this area, each structure has four bedrooms evenly split either side of these main areas, all placed far enough apart to be private but close enough to have family and friends. To enhance the experience of being in the wild, the voluminous roofs are cantilevered so that the massive glass doors can glide fully open, giving the guests a seamless interaction with the bush that surrounds them.

The long lines in the lounge are softened by the sweeping bend of a substantial fireplace, with ample use of organic materials evident in the furniture and fittings. Apart from the stunning array of South African art on the walls and sculptures that are carefully placed in and out of the buildings, some of the decor pieces could be individual artworks themselves. Many were handcrafted by local artisans in collaboration with interior designers ARRCC and Okha.

Pierre Cronje made each impressive dark dining table from a single slice of heavy leadwood, keeping the natural shape of the tree, inserting brass inlays in the cracks and placing it on curved golden plinths. Over this hangs a playful chandelier of a cascading rise of glass, hand-blown bronzed bubbles by Martin Doller, making you feel as if you’ve dived into champagne. The beautiful drinks bars were carved from solid travertine blocks by skilled hands.

“Ecoluxe” is the key marketing buzzword here, and the entire high-end village is solar-powered – this includes the game-drive vehicles, which glide along in almost complete silence. The grey-water treatment plant recycles this precious resource for the gardens.

Stefan sensibly decided not to blend in with more “traditional” safari lodges, but rather to stand out with a bush home. It’s maybe not unique in itself, but where it is situated makes it so, like a cut diamond on a plain pebble beach.

Regardless of its slick splendour, and with the help of the welcoming warmth from the staff, it feels like a wealthy relative’s house – which, for a short time, can become your home from home.

For more information, visit cheetahplains.com.

Looking for more architectural or travel inspiration? Take a look at the Khwai Leadwood Lodge in Botswana.

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