Finally, a Bench Design That Never Wastes a Seat

Anyone who has ever sprinted through a train station with a rolling suitcase in one hand and a coffee sloppily balanced in the other knows the particular despair of scanning a row of seats and finding every single one occupied by someone’s backpack. Not a person. A bag. Sitting there like it paid for the ticket too.

That small, maddening moment is basically the whole reason a London studio called Of My Imagination designed something called Flip, a modular public seating system where each individual seat can rotate out of the way on command. Instead of a bench being a fixed slab of “sit here or don’t,” Flip treats every seat as its own hinge point. Flip it down, it’s a chair. Flip it up and out, it becomes open space for luggage, a stroller, or just more room to breathe when a platform gets crowded. It sounds almost too simple to be clever, which is usually the sign of a genuinely good idea.

Designer: Of My Imagination

I’ve been thinking about public seating a lot lately, mostly because so much of it seems designed for an idealized version of how people move through the world rather than the messy, unpredictable reality of it. Airports, bus terminals, hospital waiting rooms. These spaces swing between dead quiet and total chaos within the same hour, and yet the furniture almost never adjusts with them. A bench built for a slow Tuesday afternoon becomes a liability during a holiday rush, when every inch of floor space suddenly matters and immovable seating just gets in the way.

Flip’s answer isn’t flashy. There’s no app, no motor, no sensor deciding when a seat should move. It’s a mechanical latch and a rotating joint, the kind of low-tech solution that feels almost old-fashioned in a moment when everything gets pitched as “smart.” I actually like that restraint. Public infrastructure breaks down constantly not because the technology is too simple, but because it’s too complicated, too fragile, too dependent on software updates and maintenance contracts nobody budgeted for. A seat that flips because a person physically flips it is a seat that still works during a power outage, a system failure, or just a Tuesday when the maintenance crew is short-staffed.

The pandemic-era spacing rules get a mention in OMI’s own description of the project, and it’s worth sitting with that for a second. Remember all those benches wrapped in caution tape or marked with awkward stickers telling you where not to sit? Most of that signage disappeared once the emergency did, but the underlying problem never really left. Public seating still needs to flex between “pack people in tightly” and “spread them out,” whether that’s for health reasons, accessibility needs, or just the reality of rush hour versus a quiet Sunday morning.

What strikes me most is how much this design respects the intelligence of the people using it. Flip doesn’t try to predict what a traveler needs. It just gives them the option and gets out of the way. That’s a surprisingly rare quality in public design, where the instinct is often to over-engineer a solution that anticipates every scenario instead of trusting a commuter to make a simple physical adjustment themselves.

Is it going to replace every bench in every transit hub across the country? Probably not right away, and cost, durability testing, and vandalism resistance are the unglamorous hurdles any concept like this has to clear before it shows up somewhere you’d actually sit down. But as a proof of concept, it’s a refreshing reminder that flexibility doesn’t require a screen or a subscription. Sometimes it just requires a hinge and a little humility about how unpredictable public spaces actually are.

The next time I’m standing in a crowded terminal, silently negotiating personal space with a stranger’s overstuffed duffel bag, I’ll probably think about Flip. Not because it solves everything, but because it solves the one thing that’s been sitting there, unaddressed, for as long as public benches have existed.

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Scaffolding Was Never Meant to Be Beautiful, Estrade Disagrees.

Most furniture begins with a brief. A sketch. A mood board pulled from somewhere between a Scandinavian design blog and a decades-old auction catalog. French industrial designer Pierre Villez did something different. He started at the construction site.

His project Estrade, which takes its name from the French word for a raised platform or stage, is exactly the kind of design that makes you pause and rethink what you assumed you knew about materials and their purpose. It takes scaffolding, one of the most utilitarian objects in the built environment, and repurposes it into furniture with a presence that feels both raw and considered. The idea isn’t complicated. What’s remarkable is how clearly it works.

Designer: Pierre Villez

The execution is built around scaffolding tubes and components, the galvanized steel poles and fittings that temporarily hold up the facades of buildings under construction. These become the structural bones of a usable, liveable object. The material doesn’t get disguised or prettied up. It stays exactly as it is, marks and all, which is where the real honesty of the design lives. There’s no apology in it.

There’s a broader conversation happening right now in the design world about where materials come from and what happens to them once their original job is done. Construction materials sit at an interesting intersection: they’re industrial, abundant, and structurally engineered to last far longer than the projects that use them. Scaffolding in particular gets a rough deal in this sense. It does some of the most important work on a building site and then disappears entirely, either stacked away in a storage yard or eventually scrapped. Villez’s response is simply to ask whether disappearing is really necessary.

What makes Estrade worth paying attention to, beyond the sustainability angle, is that it doesn’t feel like it’s compensating for its origins. A lot of upcycled design falls into the trap of trying too hard to look polished, as if the designer was vaguely embarrassed by the material they started with. Estrade leans the other way. The scaffolding reads as scaffolding. The proportions are deliberately architectural, almost structural in feeling, and that industrial quality isn’t softened so much as it’s redirected. You’re not looking at furniture that happens to be made from scaffolding tubes. You’re looking at scaffolding that has decided to become furniture, on its own terms.

That kind of design thinking takes a real confidence in the material. It requires trusting that what you’re working with has enough inherent value to carry the work, without heavy intervention or stylistic decoration layered on top. Pierre Villez, who is based in Lille, France, clearly believes it does. His portfolio also includes ALAIN, a project that applies the same logic to crash barriers, which tells you this isn’t a one-off experiment. It’s a considered way of looking at the built world and asking what gets left behind, and why.

For anyone paying attention to where design is heading, Estrade feels like a meaningful signal. The sustainability conversation in design has been running for years and has sometimes drifted into the theoretical or the performative, becoming more about messaging than material reality. A project like this cuts through that. It’s grounded and specific. It takes one material, one context, and one question: can this be something else? The answer that comes back is yes, and it looks good while saying it.

The name is a small detail that rewards a second look. An estrade is a platform you stand on, a raised surface that offers a different vantage point. It’s a quietly clever choice for a project that asks us to look at a familiar, overlooked material from a completely different angle. Not everything in design needs to be precious or brand new. Some of the most interesting work happens when a designer takes what’s already there and asks a better question of it. Pierre Villez asked a good one.

Three metal stools with black seats lined up on a pink background.

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This aluminum bench stands on the shoulders of discarded Mac Pro cases

Apple is not a big fan of reusing its products for something else, at least something that is still close to the original function of the design. It probably won’t object to completely unrelated applications of those designs, especially when it’s for a creative and artistic purpose. The non-functional parts of an iPhone, for example, could be disassembled and framed to be displayed as a piece of tech history. Or one might simply take the empty shells of old Mac Pro and turn them into a piece of structural art, which is exactly what this rather striking metal bench tries to accomplish in a way that will probably make you wonder how strong those old Apple desktops might have been.

Designers: Quinner Baird, Alec Alborg, Ferb Liebana, Berit Levy, Jaime Uriarte (Caliper)

The designs for more recent Mac Pros have been rather controversial, to say the least. The cylindrical 2013 was derided for looking like a trash can, while the boxy 2019 design, though a bit more traditional, is jokingly called a cheese grater. Neither are good foundations for a stable piece of furniture, but the first-ever Mac Pro fortunately fits the bill perfectly. It was a minimalist brushed aluminum box with tapered legs on the front and back to raise it up and equally tapered handles on those same sides for easier lifting.

Made for Manhattan clothing brand Hidden as part of store display, the Mac Pro Bench is exactly what it sounds like. It takes two first-gen Mac Pros, totally gutted of any and all electronic components, and has a folded aluminum plank attached on top. The plan has a tapered shape that fits perfectly between the front and back handles, making it feel as if the desktops were made for this very purpose. Two versions of the bench exist, one preserving the brushed aluminum aesthetic of the Mac Pro, and another thoroughly coated in Hidden’s green motif.

It’s not being sold en masse, which will probably keep Apple’s lawyers happy, though there are also ways to make your own. That said, it’s probably not a good idea outside of making it a decorative piece. It’s actually not tested how much weight the Mac Pros will be able to handle, especially with a bench meant to sit more than one person. The hollow legs of the desktop don’t look reassuring either, and it might have been more practical to have sawed those off, even if it meant ruining the original Mac Pro shape.

That said, it’s possible to reinforce the foundations of the Mac Pro Bench to make it a more usable piece of furniture. More importantly, however, the piece of art could also spark the imagination and creativity of others to make similar designs that reuse discarded desktop PCs in a less conventional and more interesting manner.

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This Adaptable + Minimal Furniture Collection Is The Future Of Seating In Schools & Offices

Having the right seating solutions in offices and schools is of utmost importance. We spend a lot of time on it, completing our tasks, working away to glory, or sitting through tedious classes if we’re still in school. An excellent seating design is of course, comfortable and ergonomic, but also able to add some personality and spunk to a space. It functions as a great spot to not only complete your work but also lounge about a bit, and have a quick chat with your co-workers and friends. And, one such seating option to consider is the Plega Seating Collection by Alexander Lotersztain for Derlot.

Designer: Alexander Lotersztain for Derlot

Designed by Australian designer Alexander Lotersztain for Derlot, the Plega seating collection includes a range of stool and benches that perfectly combine acoustic properties with adaptable seating, to work efficiently for work and school environments. The Plega stools and benches are made using a thick felt sound-dampening panel which is called Autex Acoustics’ CubeTM material. The collection is built using an attractive yet functional design that can be folded and slotted together from a flat-pack format.

The stool and benches have a cuboidal form which allows them to be used as flexible furniture items in dynamic settings. The lightweight seating designs can be bundled together to support team meetings and huddles. The aforementioned CubeTM panels are built using compressed polyester felt with 60 percent recycled content. The entire collection is awarded with certifications by WELL, LEED, Green Star, and BREEAM for the collection’s high environmental performance.

“Beyond sustainability, these stools and benches encapsulate a harmonious blend of adaptability and form, catering to the dynamic requirements of educational and corporate spaces,” said Derlot. The varied PLEGA stools and benches are available in a collection of soft and pastel colors that won’t command too much attention. They’re available in both adult and kid sizes, making them ideal for offices and schools. PLEGA is designed to be the future of seating in contemporary schools and offices. The collection has a minimal and clean form, making it appropriate for such spaces, and allowing the furniture pieces to harmoniously merge with such environments.

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