Cuba was our first fully realised expression of responsive furniture — a clean, minimal cube that quietly transformed into a seat the moment you sat down. No switches, no levers. Just geometry, balance, and a single idea: that furniture could respond to you.
It was modular, sculptural, and strange — in the best way. Internally, we called it “furniture for spaceships”: compact, adaptive, and quietly futuristic. Paired with the Dox tables, it became a complete seating-and-table system that reimagined how space could flex, flow, and optimise around human movement.
Loved by designers, minimalists, and curious thinkers around the world, Cuba became a cult object. But more importantly, it sparked everything that followed.
Beautiful, complex — and not quite the right fit. Cuba was both a success and a challenge. It captured imaginations. It shipped globally. It got people talking.
But it also raised big questions — about scale, production, and purpose — that led us to think differently about where responsive design could have the greatest impact.
Cuba revealed something big: that people crave furniture that adapts, supports, and disappears when not in use. It was a breakthrough — but also a prompt. What else could responsive furniture be?
We asked ourselves: If we could make just one responsive product for real life — what would it be?
That led us to Neata, our next-generation home office seat. Designed for focus, movement, and the demands of modern space.