Most public art earns its place on a pedestal and stays there. It asks you to look, maybe photograph it, and walk away. The relationship between viewer and work rarely extends beyond that brief transaction. That’s been the convention for a long time, but there’s a growing push for installations that don’t just occupy public space but actually do something within it.

Michael Jantzen has been exploring that tension for years. His Moving Furniture series applies a simple idea to ordinary chairs and tables: take each object’s form and repeat it in progressive intervals as if capturing it mid-movement, then connect those moments into a single piece. The result is something you can still sit in or set a drink on, even if it no longer looks quite built for that.

Designer: Michael Jantzen

Monumental Moving Furniture takes that same concept into architectural territory. Built from painted steel, the series consists of abstracted chair and table forms, each generated by moving the original object through space and time and locking its path into a chain of connected segments. At this scale, what started as a reference to everyday objects feels closer to a building than a piece of furniture.

The method behind each piece is consistent. A chair or table is set in motion through space and time, with each interval frozen and joined to the next. Some pieces move only part of the original form; others shift the whole thing. The result is a structure that stops belonging to any single discipline and starts reading as furniture, sculpture, and architecture at once.

Despite being too large to sit in, these sculptures aren’t purely decorative. Each is large enough to walk under and through, giving it a practical function as a pavilion and shelter. That’s not something most public art can claim. Instead of asking people to observe from a polite distance, these structures pull you in, turning a passive encounter into something more physical and immediate.

The series covers both chair forms and table forms, each treated with the same sequential abstraction. Individual pieces have also been grouped into configurations that suggest more complex structures, as if each were a building block for something larger. Painted in vivid, solid colors like white, orange, and yellow, each structure commands attention from a distance and rewards a closer look once you’re standing beneath it.

Public spaces deserve more than objects to look at. They deserve things to experience. Monumental Moving Furniture earns its place on both counts, offering structures large enough to shelter visitors while giving them something genuinely puzzling to engage with. These forms don’t demand reverence. They invite curiosity, exploration, and the kind of slow, circling attention that good public space has always been designed to encourage.

The post These Steel Chairs Are Too Big to Sit In: Walk Through Them Instead first appeared on Yanko Design.

Most garden structures ask one thing of you: sit still and enjoy the shade. A pergola is a pergola, a gazebo is a gazebo, and neither one particularly cares what the afternoon light is doing. Michael Jantzen’s Interactive Garden Pavilion operates on a different premise entirely, one where the occupant has as much say over the structure as the designer did.

Built from sustainably grown stained wood and painted a uniform forest green, the pavilion sits on an octagonal support frame fitted with 30 slatted hinged panels across its walls and roof. Each panel pivots independently, sliding and rotating along the frame before locking into position. Open them wide on a hot afternoon, and the interior breathes. Angle them down against the glare, and the space dims considerably.

Designer: Jantzen

That last point is where the design earns its name. Most adjustable outdoor structures offer a single variable, usually an awning or a retractable canopy, within an otherwise fixed form. Here, the entire skin of the building is the variable. The wall panels, roof panels, and ground-level platform extensions can all be repositioned, which means the pavilion can look substantially different from one afternoon to the next.

Pull the panels shut on three sides, and the structure becomes a genuinely private enclosure. Splay them open, and the interior connects fully to the garden around it. In one arrangement, it reads as a dense closed form. In another, the structure opens up entirely, and the slatted framework becomes almost sculptural against the lawn.

Inside, two benches with adjustable backrests run the length of the interior, facing each other. The seating is built into the frame, which keeps the floor plan clean and leaves room to recline fully. When the overhead panels are partially open, sunlight enters in sharp parallel bands that shift across the benches as the day moves, a quality that is either meditative or distracting depending on what you came in for.

The construction logic is also notably practical. The pavilion is a prefabricated modular system, so the components can be scaled before assembly or joined with additional units to form a larger cluster. No foundation is required in most configurations. Given its size and type, a building permit is unlikely to be needed in many jurisdictions, which removes one of the more tedious barriers between an interesting design and an actual garden.

Jantzen has spent decades proposing architecture that responds dynamically to its occupants, much of it remaining on paper. This pavilion is one of the cases where the idea got built, and the result holds up at close range. The slatted wood is honest about what it is, the green paint ties the structure to the garden without trying to disappear into it, and the hinge mechanism does exactly what it promises.

The post Michael Jantzen’s Garden Retreat Has 30 Panels to Rearrange by Hand first appeared on Yanko Design.

Renewable energy systems in commercial architecture often remain hidden behind facades or tucked away on rooftops, treated as necessary but unsightly additions to building design. This approach misses opportunities to celebrate sustainable technology as part of the architectural experience, particularly in industries like wine making, where connection to natural cycles and environmental stewardship could enhance rather than compromise the visitor experience.

The Solar Winds Wine Tasting Pavilion by Michael Jantzen takes a radically different approach to this challenge. This unbuilt concept transforms renewable energy gathering into the starring feature of a winery pavilion, creating a structure where solar panels and wind turbines become sculptural elements that enhance both the building’s beauty and its environmental mission.

Designer: Michael Jantzen

The pavilion’s form immediately captures attention with its flowing series of curved steel panels that sweep across the structure like frozen waves. These panels, formed with two different radii, create a dynamic, undulating canopy that echoes the rolling hills of wine country. The effect feels both organic and futuristic, as if grapevines themselves had inspired a piece of architectural sculpture.

The steel arches and horizontal supports underneath provide the structural framework, clad with glass panels that can automatically open and close for natural ventilation control. This adaptive system allows the pavilion to respond to changing weather conditions while maintaining the flowing aesthetic. An open-air version could eliminate the glass entirely, creating a purely shaded gathering space.

The renewable energy integration becomes part of the visual spectacle rather than hiding in the background. Many of the curved panels incorporate flexible photovoltaic material positioned for optimal sun exposure, generating electricity for both the pavilion and the main winery. Panels without solar cells are painted to match, maintaining the cohesive flowing appearance while providing essential shade for the interior spaces.

Of course, the vertical-axis wind turbine adjacent to the pavilion adds another layer of energy generation and visual drama. The turbine’s sleek profile complements the pavilion’s sculptural form, while the circular bench built around its base creates a contemplative spot for visitors to observe both the technology and the surrounding landscape.

The interior experience feels equally thoughtful, with the curved panels casting intricate, ever-changing shadow patterns across the floor. Visitors can enjoy wine tastings and special events while surrounded by the gentle play of light and shadow, creating an atmosphere that connects them directly to the natural forces powering the building.

That said, the symbolic inspiration runs deeper than mere aesthetics. The trellis-like structure references the fundamental relationship between grapevines and their supporting framework, suggesting that buildings, too, can grow and adapt in harmony with their environment and energy sources.

You’ll notice how this concept challenges conventional approaches to both winery architecture and sustainable design. Rather than treating energy systems as afterthoughts, Jantzen makes them central to the architectural experience, creating spaces where visitors can appreciate both fine wine and the elegant technology that powers their experience.

The Solar Winds Wine Tasting Pavilion invites us to imagine buildings that celebrate their energy sources as proudly as they display their contents. This approach suggests possibilities for architecture that educates, inspires, and delights while advancing environmental goals through visible, beautiful sustainability.

The post Solar Winds Wine Tasting Pavilion Imagines Architecture and Energy Flowing Together first appeared on Yanko Design.