Is it furniture or a building?

The 'Leshi' sofa introduced by design studio 'Design Lab KOD' is attracting attention by breaking down the boundary between furniture and architectural objects. Rather than relying on decorative elements, this sofa focuses on fundamental spatial elements such as mass, arches, and enclosure. Emphasizing presence rather than styling, we explore how a single object can convey a sense of stability, protection, and a direct relationship with the human body.

The name 'Lesh' comes from a forest spirit that appears in Slavic mythology. However, this project focused on interpreting the atmosphere rather than specific characters.

Reinterpretation of early Slavic residential culture

In early Slavic domestic culture, sofas did not exist as a separate type of furniture. At that time, the interior space was composed of objects closely integrated with the architectural structure, such as benches, chests, and couches. Rather than directly imitating these historical forms, Lesch Sofa approaches cultural memories in which the boundaries between architecture, the body, and the environment were fluid.

The sofa takes the form of a single, continuous volume. The wide cylindrical armrests and round backrest create a stable and massive composition. It suggests a form that was slowly formed over a long period of time, as if it was discovered rather than designed. This is reminiscent of early architectural structures from the 9th to 11th centuries, when arches and walls retained traces of handwork and avoided strict symmetry.

Low and solid presence

Scale plays a key role. The leash is low and close to the ground, avoiding visual lightness or exposed structures. It is positioned as part of the interior space rather than separate from it, and is closer to a landscape element than a traditional piece of furniture. The absence of detail reinforces this effect, focusing the eye on proportions, volumes, and physical interactions.

Fabric materials introduce contrasting layers. By evoking animal characteristics such as dense wool-like texture, warmth, and softness, the interpretation of a purely architectural object is transformed into a sensuous dimension. The tension between hard, massive forms and soft, tactile surfaces characterizes this project, strengthening the connection between objects, bodies and the environment.

Talking about regional identity in design

Leshes do not function as neutral background furniture. It asserts a clear presence and encourages a slower, more physical way of interacting with space. In doing so, it contributes to the broader discussion on regional identity in design, which expresses cultural memory through form, scale and materials rather than decoration or direct historical references.

Recently, in the global design world, there has been an increasing number of attempts to reinterpret each region's unique cultural context in modern language. The Lesh Sofa is a representative example of this movement in Slavic culture, and is evaluated as a work that goes beyond simple furniture design and redefines the relationship between space and humans.