Sebastian Wrong Carpet and Tiles by Sebastian Wrong, produced by Fletco Carpet Tiles A/S.

Milan saw the launch of wrong.london, an offshoot of HAY that's run by creative director Sebastian Wrong. The lighting-focused division released these veneered-oak lampshades, dubbed 30degree, among other designs.

Over in St James's Park, the highly anticipated collaboration between London-based designer Sebastian Wrong and Danish design brand HAY is on display inside an ornately decorated Georgian townhouse. The opulent interiors provide the perfect contrast for the collection's sleek and contemporary lines.

The impression of a 3D relief was overwhelming with this pattern.

Hackney Sofa by Wrong for Hay The real magic of this wood-frame, foam-stuffed sofa comes to the fore when you’re moving: It breaks down and packs flat to make navigating narrow doorways and stairwells a cinch.

The Spun Table Lamp ($995-$1,195)—designed by Sebastian Wrong for Flos—comes in a variety of sizes and finishes, including the polished aluminum seen here. Made it Italy, it features a 0-100 percent dimmer that gives you ultimate control over of illumination.

Hackney sofa by Wrong for Hay. See it at Via Ciovassino 3a.

Sebastian Wrong's font clock for Established & Sons symbolizes to a tee the era of design since 2000. We're living in an internet age in which typography has become a part of pop culture no longer relevated to kerning-happy designers. The Font Clock isn't terribly expensive, and it's quirky yet massively appealing.

London-based Sebastian Wrong’s Studio Chair is made of acrylic paint and ash. At Qubique, the co-founder of Established & Sons will launch his new personal venture, "The Wrong Shop," with a charity auction.

Wrong WoodsStep inside the comic-book world of Richard Woods and Sebastian Wrong and witness the right way their Wrong Woods line of graphic furniture is made. Featured in the February 2008 issue.

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HAY's pop-up with Wrong for HAY, by British designer Sebastian Wrong, was the toast of the town. They installed a mini-market for cash-and-carry purposes (props to the Nathalie du Pasquier tote bags) and showed a few upcoming pieces, including modular shelving and a series of household goods by Shane Schneck.

The open living/dining area gives a good impression of Tas’s catholic approach to decorating, which includes mixing Panton chairs with antiques and homemade pieces.

The suburban backyard garage in Hertfordshire, England, that architect Olli Andrew of Hyper converted into a work studio is wrapped in charred larch wood pieces that give the impression of scales and foster biodiversity, providing a place for insects to nestle.

The floor-to-ceiling windows in the living room give the impression of being outside even while cozily enjoying a cup of tea inside. All the windows in the house are double-paned and filled with argon gas. Petra Sattler-Smith says that “even when it’s 10 below you can put your hand on them and they are still warm.” Hydronic radiant heating embedded within the concrete floors not only enables barefoot walking during the coldest months but also warms the furniture and everything else in the room.

Danish brand HAY delved into Memphis designer Nathalie Du Pasquier's archive to reissue a series of printed cotton textiles as part of its "Wrong for HAY" collection. Shown here is Sebastian Wrong's "Curve" chair upholstered in a blue, green, white, and black pattern called "Ice".

“Your first impression is that the house is very closed,” says David Barragán of the building he designed with Jose María Sáez in Quito, Ecuador. Stacked concrete forms, developed by Barragán and Sáez and used as planters along the front facade, offer privacy and integrate the building with the site.

Two of Sebastian Wrong's Spun Lights hover over the floor, beneath three glowing Circle Lights.

That’s how Milla Novo and her husband, Nigel Nowotarski, came to live in the top of what was once a chapel. As you step into their apartment, large arched windows hint at its ecclesiastical past, but the couple’s eye-catching textiles and artworks—set against pristine white walls—make the biggest impression.

A swinging entrance door makes a bold first impression.

The cabins feature foldaway beds and glazed walls that create the impression of sleeping outdoors.

The asymmetrical shape and tilted lines reinforce the impression that the cabins are capsized ships.

The home's wood-clad facade reinforces the impression of a singular architectural object rooted in the landscape.

The house dips down the slope, creating the impression of house that’s half sunk into the ground.

“Everything out here has been something else,” designer Barbara Hill says of Marfa, Texas. It’s certainly true of her casita, which was formerly a grocery store: The 1,200-square-foot home is filled with reworked pieces, including the Elvis artwork she embellished with pink lights fabricated by the Neon Gallery in Houston and the refurbished Bertoia chairs from Cast + Crew. The minimal color palette is echoed in the freestanding Malm fireplace and the concrete floor sculptures by William Vizcarra from Wrong Marfa.

Le LAD intentionally designed the asymmetric windows on this gable wall to give the impression that they've been added over time.

Among those in the audience (and among the designers celebrated that evening): Sebastian Wrong, of Established & Sons.

The gabled outline of the eight doors and windows give the impression of eight little houses cut out from the sides of the big house.

In Washington’s Methow Valley, a modern cabin with an outdoor living room allows views of the surrounding woodland and meadow to perforate its volume. By day, the Chechaquo Lot 6 cabin gives the impression of floating in a forest clearing; by night, its windows glow against the wooded darkness. From all vantage points, the landscape permeates this 1,000-square-foot cabin, designed for two outdoor enthusiasts and tucked at the toe of a dramatic slope in Winthrop, Washington.

A brick facade on one of the structures relates the new buildings to the existing home, and creates the impression of a monolithic form floating effortlessly above the water.

"It was rundown, dark, and divided," recalls Masaaki of his first impression of the warehouse, the ground floor of a multistory apartment building. But after some thought, Masaaki, a Japanese-born architect, and Esther, an artist from Minorca, realized that owning the combined 2,700 square feet would allow them to headquarter Mas-aqui, the architecture and design firm they were planning to start, on-site. They bought the property and within months transformed it into a bright, modern live/work space.

An abstracted take on the kitchen island design gives the impression of a table when viewed from the living area, integrating both rooms around a central gathering point.

Walnut counters and open shelving complement dark blue-painted cabinetry and copper drawer pulls in the kitchen, where aluminum panels from Muraluxe give the impression of a tile backsplash.

A wooden staircase leads to a rooftop terrace. "The access to the roof terrace gives the impression that you continue to ‘climb’ the tree to reach the canopy," said the architecture studio.

This circa-1958 Eichler in Silicon Valley makes a mesmerizing first impression with its combination of ipe wood and neon-yellow resin. A garden, courtesy of landscape designer Bernard Trainor, fosters the illusion of more space.

Beams extending from the kitchen floor give the impression of an oversize butcher-block stage for a custom walnut-slab table and a dozen Molded Plastic chairs by Charles and Ray Eames for Herman Miller.