Rive Roshan brings coloured glass and a song of hope to Parc Monceau

Garden of Hope by Rive Roshan, glass marquetry structures at BOON_MONCEAU, Paris

For Paris Art Week 2026, the Amsterdam-based studio Rive Roshan presents two works at BOON_MONCEAU, a 19th-century hôtel particulier overlooking Parc Monceau that BOON_ROOM has reimagined as a lived-in setting for interior design, collectible design and art. Garden of Hope and the Circadian Marquetry Panels are on view from 19 to 25 October.

Garden of Hope by Rive Roshan, glass marquetry structures at BOON_MONCEAU, Paris
Garden of Hope by Rive Roshan, glass marquetry structures at BOON_MONCEAU, Paris
Garden of Hope by Rive Roshan, glass marquetry structures at BOON_MONCEAU, Paris

Both works start from what Golnar Roshan and Ruben de la Rive Box call ordinary miracles: everyday phenomena of light that often pass unnoticed. Rather than hanging in a gallery, they become part of the life of the house, its architecture and its daylight. “Our work always begins with observation: light on water, the colours of the sky as they change, the rhythm of a single day,” the designers say. “We try to isolate these fleeting moments and give them a physical form, so that people can pause and notice them again.”

Garden of Hope by Rive Roshan, glass marquetry structures at BOON_MONCEAU, Paris

Garden of Hope

Garden of Hope premiered at Alcova during Milan Design Week 2026, in the grounds of the former Baggio Military Hospital, and is now shown in Paris for the first time. Monolithic structures of coloured glass marquetry rise from the floor and break up the changing daylight through reflection and refraction. The studio relates the textured glass to Claude Monet’s paintings of the nearby park, describing it as a series of contemporary brushstrokes.

Garden of Hope by Rive Roshan, glass marquetry structures at BOON_MONCEAU, Paris
Garden of Hope by Rive Roshan, glass marquetry structures at BOON_MONCEAU, Paris
Detail of coloured textured glass in Garden of Hope by Rive Roshan

Inside the structures, moving light elements follow a choreography developed with Studio Ravenhorst. It translates the rhythms of a historic Persian anthem of resistance and hope, voiced by Nava, an AI-generated Iranian singer created by Farbod Mehr. The work also draws on the tulip, a Persian symbol of rebirth and memory, and on the verse “Az khooneh javanan-e vatan laleh damideh”, “from the blood of the country’s youth, tulips have blossomed”.

Detail of coloured textured glass in Garden of Hope by Rive Roshan
Detail of the textured glass marquetry.

The project brings together Roshan’s Iranian-Australian heritage and de la Rive Box’s Dutch roots. “In a world experiencing profound political tensions and conflict, Garden of Hope is our offering of a space to pause, reflect, and reconnect through a shared experience,” the designers state.

Garden of Hope by Rive Roshan, glass marquetry structures at BOON_MONCEAU, Paris
Garden of Hope by Rive Roshan, glass marquetry structures at BOON_MONCEAU, Paris
Garden of Hope by Rive Roshan, glass marquetry structures at BOON_MONCEAU, Paris

Circadian Marquetry Panels

The Circadian Marquetry Panels are made with glass marquetry, a technique the studio developed by layering different glass textures to evoke light moving on water. The series takes its cue from the circadian rhythm, the body’s 24-hour clock that regulates sleep and wakefulness in response to light. In the rooms of the residence, the panels change as the daylight shifts through the hours.

Rive Roshan was founded in Amsterdam in 2015. In 2021 the studio held its first national solo exhibition at Museum JAN in the Netherlands and took part in the NGV Triennial, after which its work entered the collection of the National Gallery of Victoria. It is now developing a permanent installation for the entrance of Máxima Medical Centre in the Netherlands, due for completion in January 2027.


Designer: Rive Roshan / @riveroshan
Photography: Alexandra de Cossette
Location: BOON_MONCEAU / @boon_room, 6 Rue Murillo, Paris, France

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