What’s Happening: Italian designer Jozeph Forakis is developing a 3D-printed superyacht that strives for zero emissions and otherworldly visuals.

The Download: There’s a lot going on with Pegasus, the concept superyacht envisioned by Jozeph Forakis as existing in total harmony with nature. Spanning nearly 300 feet long, the futuristic vessel is virtually invisible thanks to a silver-metallic finish that mirrors the sea’s motions and colors. Cladding the exterior hull and superstructure is a 3-D printed lightweight mesh framework that minimizes its environmental impact compared to traditional shipbuilding methods. Ditto for the solar panels embedded in the exterior’s reflecting glass, which is angled toward the sky in order to convert seawater into hydrogen and electricity, ensuring Pegasus can continue cruising without a hitch.

The overall effect is otherworldly—not a quality often associated with superyachts, which can often seem imposing and indulgent. “Sailing is a beautiful way to be close to nature, yet motor yachts have become synonymous with reckless exploitation of resources,” Forakis tells Forbes. Pegasus would be fitted out with onboard amenities like an aquarium-style lap pool, an oversize jacuzzi, and large windows that transform into open balconies, but a meditative zen garden and reflecting pool inspire at least a hint of introspection. And inside, an Avatar-inspired hydroponic “tree of life” stretches across four interior levels.

“The original vision was to design a yacht like a cloud floating above a sea,” Forakis says, drawing inspiration from Blur Building, an open-air pavilion created by Diller & Scofidio—now known as Diller Scofidio + Renfro—for the 2002 Swiss Expo. That project, which hovered over Lake Neuchâtelin in the quaint Swiss town of Yverdon-les-Bains, shot pumped lake water as a fine mist through 35,000 high-pressure nozzles. Inside, visitors traverse an optical “white-out” and “white noise” created by the mist. From afar, the tensegrity structure is shrouded in an ethereal fog, not unlike a giant cloud installation by Dutch artist Berndnaut Smilde, whom Forakis also cites as an influence.

The technology needed to execute Pegasus’s architecture still needs fine-tuning, but Forakis is optimistic he can deliver a prototype by 2030. He’s vacillating between using a polymeric or metallic alloy as the base material, but “the concept has been highly researched and is based on existing technologies,” he says. “By integrating the hull and the superstructure, the triangulated, 3D-mesh framework would effectively distribute loads across the entire craft, resulting in a stronger, stiffer, lighter system.” The vessel’s final geometry, he says, will be fine-tuned with the help of AI, resulting in a fractalized triangular pattern based on load and impact requirements.

In Their Own Words: “The challenge I give myself is to achieve a holistic ecosystem of ideas and expression, as balanced, essential, and poetic as ecosystems in nature,” Forakis says. “I’m interested in addressing humanistic needs in harmony with the environment.”

Surface Says: AI-designed cloud yachts sure weren’t on our futuristic design bingo cards until now.

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At the Wesley, prepare for a mind-bending perspective shift on the unsung power of produce. From the botanic-inflected interiors by Elmo Studios to the imaginative menu architected by executive chef Santiago Astudillo, an alum of Le Bernardin and Daniel, plants are central to the experience.

In the capable hands of Astudillo and his team, royal trumpet mushrooms and jicama power a ceviche with a coconut leche de tigre that’ll leave even purists craving another bite. Other standouts include a grill-pressed maitake mushroom whose char is offset with a vibrant okra, tomatillo, and lime salsa verde; and an indulgent cauliflower and dukkah gnocchi with a pomegranate-accented tahini pesto that plays with sweet and savory flavors. Even the cocktails lean vegetal, like the celery juice–based Conniption spiked with gin and mezcal. Daring and unique, the restaurant is a welcome departure from the West Village’s monotonous burger-and-fries bistro scene.

“Sicily is a magical place full of contradictions. It’s where Europe and North Africa meet, with Middle Eastern influences thrown in,” says Sicilian-born artist and designer Ivo Bisignano. Following the runaway success of their first tableware collection, Feast, for interiors brand Serax, Bisignano and British-Israeli chef Yotam Ottolenghi have teamed up again to create a series of vibrant vases inspired by the Italian island’s culture and cuisine.

The Sicily collection is also evocative of the atmosphere in the James Beard Award–winning Ottolenghi’s restaurants and delis, where the colorful food is complemented by large floral arrangements—traits expressed by tomato red and basil green hues. Ranging from the crowned Testa di Moro heads that are ubiquitous fixtures on balconies in the hilltop town of Taormina to fish designs reflecting the Mediterranean, the four pieces are sure to translate the spirit of a Sicilian al fresco feast into any home.

When: Until April 1

Where: Charles Moffett, New York

What: Ever since her 2015–16 residency at the Wende Museum in Culver City, ceramicist Bari Ziperstein has immersed herself in the aesthetics and ideas deployed in Soviet propaganda, particularly how visual culture and architecture signal repressive social and political ideologies. Each large-scale standing sculpture and wall-hanging piece here serves as a vehicle for these ideas—particularly the Soviet predilection for Brutalist architecture and textile patterns depicting vibrant florals, productive factory workers, and electrified innovations—and potential channels for information and misinformation in equal measure.

New & Notable is a cultural catchall that highlights interesting new products and projects from our brilliantly creative members of The List. With new releases, events, and goings-on, these moments indicate their power to move the needle within and beyond realms like architecture, design, fashion, and art.

Last summer, perched on a wooded hilltop in the rolling hills of Storm King Art Center, Wangechi Mutu’s evocative bronze sculptures were clambering ahead toward an unknown destiny. The centerpiece, In Two Canoe, depicted two botanical female figures in a canoe, their mangrove-like limbs appearing to plant roots in the grass. Mangroves, which can flourish all over the planet and migrate to new habitats, are an apt metaphor for Mutu’s practice—and symbolize how the artist has sculpted her own trajectory.

“If a plant has just one root,” she told the New York Times, “that doesn’t necessarily mean it’s going to stand straight and strong. The idea of having many roots, of having your feet really grounded in different places, is extremely empowering for me.” That mantra has borne fruit for Mutu, who today unveils an ambitious career retrospective, called “Intertwined,” at the New Museum. More than 100 works create a tableau of paintings, collages, drawings, sculptures, performances, and films that trace her ideas across a 25-year career.

Based in the Piedmont region of North Carolina since 2001, Skram is a maker of sustainable heirloom furnishings at-scale for design-driven residential, commercial, and hospitality spaces. The company has earned a following for an approach that emphasizes innovative design, natural materials, and top workmanship.

Surface Says: With a portfolio ranging from cork side tables to porcelain chandeliers, the handmade objects from this North Carolina studio are nothing short of exceptional. Each product shows the expert hand of founder A. Jacob Marks, who founded Skram around minimalism, innovation, and environmental awareness.

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