FEATURE
Studio Tooj
Location
Stockholm, SE
Type
Interview
Contact
Studio TOOJ represents one of our favorite recent discoveries, a Stockholm-based studio founded by the dynamic duo Ashley and Johan Wilén-Jong that’s redefining what contemporary Scandinavian design can be. Ashley’s background in brand communications perfectly complements Johan’s deep roots in fine furniture making, creating a partnership that balances strategic storytelling with exceptional craftsmanship. What draws us to their work is how they honor traditional Scandinavian values of honesty and functionality while fearlessly experimenting with cutting-edge materials and revolutionary manufacturing processes.
Their approach to material innovation sets them apart in the contemporary design landscape. From 3D sand printing with quartz particles bound by bio-based resin to their recent collaboration with MycoWorks using Reishi, a biomaterial grown entirely from mycelium, Studio TOOJ consistently pushes the boundaries of what’s possible in luxury furniture. Their DUK series, which debuted at Alcova Miami and recently expanded at Milan Design Week, exemplifies their fascination with illusion and perception, creating pieces that appear to be draped fabric but are actually sculptural forms that blur the line between softness and solidity.
The studio’s success stems from their unique dynamic as both life and creative partners, recently welcoming their first child while continuing to expand their practice. Their work represents exactly the kind of forward-thinking design that excites us most, challenging everything we expect from Scandinavian design traditions while maintaining the core values of quality, functionality, and timeless appeal that make Nordic design so enduring.
Your backgrounds are quite different – Ashley in brand communications and Johan in fine furniture design. How did these perspectives merge to create Studio TOOJ’s unique approach?
Ashley Wilén-Jong: It’s been this really organic combination of our strengths. My background in brand design and communications has always been about storytelling, how to connect people with ideas and design in meaningful ways. Johan, on the other hand, comes from this deep craft tradition, where it’s all about the materials, the form, and how it’s made. Together, it just felt natural to combine those two perspectives.
Johan Wilén-Jong: Yeah, we approach things differently, but that’s the beauty of it. Ashley’s focus on the bigger picture—how the work fits into the broader cultural and design conversation—balances with my obsession over the details and the hands-on creation. It gives us this dynamic that really drives the studio forward.
The Contourage table feels revolutionary in how it approaches both material and form. What drove you to explore sand printing, and how does this fit into your larger vision for the future of furniture design?
Johan: The idea of using sand printing came out of our curiosity to explore new ways of creating. We were fascinated by how a raw, natural material like sand could be used with cutting-edge technology to create something so sculptural and functional. It’s about blending what’s timeless—sand is as old as the earth—with what’s futuristic, like 3D printing.
The sustainability aspect is also important for us. It challenges how we think about materials, manufacturing, and even furniture itself.
Could you walk us through the development process, from initial concept to the manufacturing process of the table?
Johan: It all started with the idea of creating something that felt organic but also disruptive. I sketched out shapes inspired by some old theatre set, a design that looks different from all four sides. We began experimenting with different materials and finally we decided to go with 3D printed sand, and the result was beyond our expectations. There are a lot intentional details behind this — for example, the direction of how the table was printed resulted in the wood grain-like pattern, or how the structure is hollow in order to reduce weight and the sand excavated got to be reused, etc. Working in collaboration with German creative manufacturer Sandhelden, the console was printed in one piece, the binder jetting process itself takes 24 hours. Furan-based binders, made from renewable sources, such as corn husks, rice hulls, sugar cane, and other biomaterials are mostly used in the process. The piece is then meticulously finished by skilled artisans, the sand texture remains intact, creating a stark contrast with the organic form.
Your DUK side table with MycoWorks shows another innovative approach to materials. What drew you to work with Reishi, and how does it align with your vision for sustainable luxury?
Ashley: Reishi was such an exciting material for us because it represents a completely new possibility in design. It’s not just sustainabe. It’s alive, it’s adaptable, and it challenges the idea of what “luxury” can mean. Working with MycoWorks felt like the perfect partnership. Reishi has this beautiful organic quality that fits right into our aesthetic, but it’s also incredibly innovative. For us, it’s about showing that sustainability and luxury aren’t mutually exclusive, they can coexist beautifully.
Ashley, you made quite a transition from working with design brands to becoming a designer yourself. What inspired this shift, and how has your background in communications influenced your process?
Ashley: It wasn’t really a planned shift. It just kind of unfolded. It started with Johan showing me his incredible designs. At first, I only wanted to create a platform so he could showcase his work. At the same time, he inspired me to draw my own ideas. In my past work, it’s a lot about helping others tell their stories and I felt it was time to tell my own stories and be part of the creation. This is how Studio TOOJ started.
I guess it is because of my background in communications, often my idea starts with a concept, for example, surrealism was the spark for creating DUK.
Johan: And Ashley’s background has been a huge advantage for the studio. She brings this perspective that I don’t have—how our work is seen, how it’s presented, and how it connects with the world. That’s not something you typically get in a design practice, and it’s been really transformative for us.
Your work combines cutting-edge technology with traditional craftsmanship. How do you balance innovation with Sweden’s furniture-making heritage?
Johan: For me, Sweden’s furniture-making heritage is all about honesty—honest materials, honest craftsmanship. That’s something I hold close, even as we experiment with new technologies. It’s not about replacing traditional methods but building on them.
Ashley: We’re trying to create a dialogue between the past and the future, like our “Between Realms: the Known and the Untold” installation recently at Alcova Miami. The innovation comes naturally because we’re always asking ourselves, “What’s next?” But it’s always grounded in respect for the craft.
As partners in both life and work, how do you navigate the creative process together? Are there specific roles you naturally fall into?
Ashley: Oh, absolutely. Johan is the mastermind behind our production. He’s always building 3D models, prototyping, interacting with the artisans to achieve the best possible outcome. I’m more focused on the bigger picture—the strategy, the storytelling, and how we communicate the work.
Johan: We’re lucky because we complement each other really well. Being both life and creative partners have its advantages. For example, we will spend the next three months in Asia doing a creative retreat. Learning from local craft and getting inspired with beaches and sun as the background.
What’s your vision for the future of Scandinavian design? How do you see traditional Nordic aesthetics evolving in response to new materials and technologies?
Johan: Scandinavian design will always have its roots in simplicity and functionality, but I think it’s evolving to embrace more experimentation, especially with materials. There’s this growing awareness that design needs to be more sustainable, and that opens up opportunities to reimagine what those core values look like in today. It’s not about abandoning tradition but reinterpreting it.
As a young studio already working with such innovative materials and processes, what territories are you excited to explore next? Are there any dream projects or collaborations you’d love to pursue?
Ashley: We’ve recently welcomed our first child. So I’ve been reflecting lately on what cultural influences I had in my childhood and how it shaped my aesthetic. Wouldn’t it be cool if we reimagine Moomin’s or one of Hayao Miyazaki’s characters’ houses and furnish them with contemporary design pieces?
Johan: When we founded Studio TOOJ we promised ourselves to always stay curious and after visiting the vibrant city of Miami a collaboration with a mural artist is high on our list.
