One to watch: Brazilian designer Danilo Reis’ altars are spiritually charged

Artist Stephanie Dillon and her husband, Reilly, were captivated by a model home in Eden Prairie, which boasted a blend of whitewashed shiplap and shakes on its exterior, creating a timeless and airy aesthetic. The interior featured light-filled communal spaces, each with a distinct character, moving away from conventional floorplans. The color scheme ranged from calming charcoals and pale neutrals to deep greens and rich terra-cotta, evoking a European atmosphere. Kelli Fontana Vogelgesang, owner of West Bay Homes and the designer behind the model, drew inspiration from her travels to Paris, characterizing the style as French contemporary farmhouse. She envisioned the kitchen as a French pastry shop, integrating multiple layers of meticulously detailed materials throughout the 5,000-square-foot residence. The kitchen's design incorporates three types of glazed tiles for the backsplashes, with a small hexagonal tile chosen for its light-reflecting properties, contributing to an elevated visual experience. Dillon, an acrylic and mixed-media artist known for painting her emotions, found a kindred spirit in Vogelgesang, whose design philosophy also prioritized passion and feeling. Dillon retained Vogelgesang to complete the interior design of their new home. The designer expressed enthusiasm for incorporating Dillon's extensive rug collection. Elements like shiplap and painted charcoal, seen on the exterior, were repeated inside on the basement's fireplace wall and the vaulted ceiling of a lounge area adjacent to the kitchen, along with charcoal-colored square tiles extending from counter to ceiling in the kitchen backsplash. This repetition of color ensures cohesiveness and a holistic progression throughout the home, where all environmental elements relate to one another. Vogelgesang skillfully managed the abundance of materials, preventing a busy or cluttered appearance, much like Dillon blends colors on her canvases. Some design choices stand out, others recede, and some shimmer, collectively defining the mood of each space. The materials coalesce into a balanced and proportionate composition, resulting in a home tailored for an artist. Vogelgesang aims to create spaces that are timeless and elegant without being overly delicate or cost-prohibitive. The lower-level bar area features charcoal shiplap around the fireplace, painted in Sherwin-Williams’s Dorian Gray, and steps down into a sunken media room, showcasing the designer’s preferred brass and gray combination. Brass hardware also adorns the front entry doors. Light fixtures, including those from Mitzi on the library ladder, were strategically chosen. The unexpected entry leads to a "dining hall" that functions as a grand foyer, as described by Vogelgesang. This space features nine-inch-wide-plank white oak floors laid in a herringbone pattern, with ceiling beams bisecting its soaring height, allowing ample natural light. The built-in bar features a backsplash of alternating light and dark neutral tiles, custom cabinetry with dental molding, and a marble sink skirt. Open shelving in the kitchen displays two sizes of backsplash tiles from The Tile Shop, with custom alder wood cabinetry finished with a clear whitewashed stain and brass hardware for an enhanced shimmer. The kitchen, inspired by Parisian pastry shops, includes two islands for ease of navigation, with only one housing a sink to allow for uninterrupted dining on the other. The mudroom boasts large-format heated tiles combined with white oak cabinetry, finished in a whitewash stain, offering an industrial concrete look harmonized with French country cabinetry. A basement guest bath incorporates vibrant color through whimsical floral tiles from The Tile Shop on one wall and Sherwin-Williams’s Perfect Periwinkle on the adjacent wall. The library features a bold mix of Sherwin-Williams paints: Canyon Clay on the walls and Gauntlet Gray in a high-gloss enamel finish on the moldings and doors, complemented by chartreuse chairs. A wide-plank whitewashed cedar wall on the rear deck provides privacy. The prep kitchen off the mudroom embraces color with Waverly Classics wallpaper by York, cabinets painted in Sherwin-Williams’s Green Onyx, and a hammered copper sink, showcasing how personal touches can enhance practical areas. The powder room dazzles with an antiqued mirrored glass tile wall from The Tile Shop, a custom white oak vanity with a marble shelf, and Savoy House sconces. The floors throughout the home incorporate patterned ceramic tiles from The Tile Shop. The home's floor plan, while a traditional rambler, diverges into an unconventional layout where the front entry opens into a vaulted foyer and dining room, serving as a pass-through to the kitchen and great room. #HomeStyle #InteriorDesign #HomeTours #FrenchContemporaryFarmhouse #CustomCabinetry #TileDesign #ArtisticHome #ArchitecturalDetails #EuropeanInfluence

French design duo Olivier Garcé and Clio Dimofski have transformed their 2,300-square-foot apartment in Lisbon, Portugal, into a living gallery that showcases their multidisciplinary practice. Both designers honed their skills at Paris’s École Carmondo and École d’Architecture de Paris-La Villette, followed by a year in Beijing, where they explored the impact of cultural interplay on contemporary design. Their professional journey continued with stints at renowned firms like Shigeru Ban Architects and Hamonic + Masson & Associés in Paris, and a significant role in establishing Pierre Yovanovitch Architecture d’Interieur’s New York office. In 2021, they returned to Europe, specifically Lisbon, to launch their own studio, drawn by Garcé’s Portuguese heritage and the city's vibrant artisan community. The apartment, located on the second floor of a late 19th-century Pombaline-style building, features a distinctive solid-color exterior tilework. Inside, the duo meticulously preserved the elaborate plasterwork and moldings during renovation, aiming to maintain the historical essence of the space. This approach allowed them to seamlessly integrate modern design elements with the building’s original character. The interior is furnished with a thoughtful blend of new and vintage pieces, contemporary art, and the designers’ own handcrafted furniture and products, all reflecting their unique aesthetic and philosophy. A central theme in their design is the emphasis on materiality, with a particular focus on natural elements such as marble, stone, wood, and ceramics. Ceramics, in particular, play a prominent role, appearing in various forms throughout the apartment. Examples include the sculptural legs of the Mimi coffee table and the wall tiles in the kitchen, which feature a painterly glaze developed in collaboration with artist-potter Lígia Guedes. Similar large-format tiles are also used as baseboards in the dining room, creating a cohesive and tactile experience. The designers prioritize local sourcing, utilizing clay from the region and chestnut wood for pieces like the coffee table top, the chunky Hélios sofa, and the study’s wall paneling. Their collection extends to other local and international talent, featuring a Studio Haos aluminum dining table and several paintings by Pedro Batista. Korean American designer Minjae Kim, a frequent collaborator, contributes characterful chairs, tables, and lighting, which exemplify the apartment-gallery’s eclectic and creative spirit. The main bedroom includes a bamboo pendant by Studio Haos and a vintage Italian bench, leading to a bathroom adorned with ceramic tile-clad custom tub and a Rosa Estremoz marble dado. The living room showcases the original plasterwork, a Batista canvas, Garcé & Dimofski’s chestnut-and-ceramic Mimi coffee table, and Colin King’s handwoven Taglio rug for Beni Rugs. Each element contributes to a space that is both a functional home and a dynamic showcase of design and craftsmanship, deeply rooted in both local traditions and global influences. #LisbonDesign #CeramicArt #InteriorDesign #OlivierGarce #ClioDimofski #PortugueseCraftsmanship #MultidisciplinaryDesign #ApartmentGallery #MaterialityInDesign

The author, a freelance illustrator, embarked on a project in 2008 in their hometown of Cascais, Portugal, a village with 650 years of history. The goal was to create artwork that reflected the town's rich past while also representing their Portuguese identity. Utilizing their unique illustration style, the artist decided to interpret traditional Portuguese tile patterns, specifically azulejos. The visual outcome was successful, inspiring the artist to further explore this concept. The artist emphasizes the importance of preserving traditions in an increasingly fast-paced and technologically advanced world. Having grown up surrounded by these tile panels, both inside and outside buildings across Portugal, the artist recognized their cultural significance. The project aims to reconnect people with their heritage by integrating art into everyday urban environments. One of the interventions mentioned took place in Largo de S. Paulo in Lisbon, where an electricity box was partially transformed. A key aspect of the artist's methodology involves contextualizing interventions by redrawing patterns from the immediate surroundings. This approach ensures that the artwork resonates with the specific location and its history. The core purpose of these artistic interventions is straightforward: to capture the attention of passersby and encourage them to contemplate the cultural foundations that underpin the beauty of their cities. The artist believes that these cultural elements, often overlooked due to their constant presence, are vital to understanding a city's identity. The artwork is designed to create "layers of history" by applying designs onto existing structures or walls. From a distance, the art appears traditional, echoing the classic Portuguese azulejos. However, upon closer inspection, contemporary and pop art elements become visible, introducing a modern twist to a historical art form. This blend of old and new is a signature of the artist's work. Over several years, the artist has specialized in stencil paintings, murals, and ceramics, all centered around tiles and patterns, predominantly azulejos. Examples of their work include a stencil mural in Muraliza, Cascais, from 2014, and contributions to the Djerbahood Project in Erriadh, Tunisia, also in 2014. These projects demonstrate the artist's consistent dedication to this unique artistic expression. #PortugueseArt #TileIllusions #StreetArt #CulturalHeritage #UrbanArt #Azulejos #DiogoMachado #PublicArt #HistoricalPreservation

This article details the journey of Amy and Bruce Paul in designing and decorating their 11,000-square-foot home in Rye, New York, focusing on integrating their extensive art collection into a cohesive interior design. Having previously lived in a post-modern home with traditional furnishings and a growing contemporary art collection, the Pauls sought to create a new residence where the exterior architecture and interior aesthetics were harmoniously aligned with their personal taste in design and art. Their objective was to construct a home that could comfortably accommodate their family of six while optimally showcasing their practiced and perfected collection of paintings and sculptures. The couple acquired a 13-acre estate in Rye before the 2001 World Trade Center attacks, subdividing it into seven lots and reserving a two-plus-acre parcel for their own home. They collaborated with builder Michael DiChiaro to construct a six-bedroom, seven-full-bath residence that offers views of a wooded yard, later enhanced with a pool and waterfall by Coral Sea Pools, and adorned with bronze sculptures by Mexican artist Bruno Luna. For the interior design, Amy Paul enlisted Joseph R. Stabile of J.R. Cattington, who had previously worked with them. Stabile and his team were involved from the ground up, providing input on architectural design, interior finishes, electrical layouts, and lighting selection. Stabile chose a palette of cream and gold to complement the Pauls' artwork and suggested structural modifications, such as adding a doorway to improve flow in the formal living room. Amy's primary design directive was for a "light and bright" home, which was achieved in the living room through buttery gold satin-striped fabric from Robert Allen for window treatments and crystal wall sconces by Crystorama. This room serves as a gallery for various notable paintings, including works by Janet Treby, Liane Abrieu, and Russian artists. The soft color scheme is accented by silk brocade wing chairs with colorful throw pillows and fuchsia and silk rugs from China. The family room continues the luminous theme with yellow walls, a toile pattern by Antonia Vella, Seabrook wallcoverings, and similarly colored fabrics in lemon, green, and persimmon for window treatments, pillows, and side chairs. Crystal chandeliers from Murano, imported by Castilian Imports, were chosen to coordinate with paintings by Isaac Maimon and Charles Levier. The coffered ceiling in a green apple shade with cream-colored woodwork further enhances the vibrant, garden-like atmosphere. Bruce Paul's personal space, a clubby card room, contrasts with Amy's preferences, featuring dark wood paneling, built-in bookcases, a bar, and masculine fabrics. This room, separated from the family room by a stone-front fireplace, includes Biedermeier chairs with leopard-print fabric and various personal artifacts. Stabile designed the fireplace with intricately carved mahogany lions and used a Serengeti Leopard carpet to connect Bruce’s adjoining office. The Pauls' children, Joanna, Ryan, Matt, and Jason, also contributed to the design of their respective bedrooms and bathrooms, incorporating elements such as Masland Carpets, Bernhardt furnishings, and Thibaut wallpapers. The master bedroom, with its vaulted ceiling, presented a challenge in scale, addressed by Stabile using Highland Court silk brocade for a cornice "headboard" that coordinates with custom curtains. The article highlights the Pauls' passion for art collection, which began with a French artist Charles Levier painting and expanded to include works from their travels to Europe, South America, Asia, and the Southwest. Despite concerns about diminishing wall space, their quest for art, driven by personal connection and memories from their travels, continues. #HomeDesign #InteriorDecor #ArtCollection #LuxuryHome #RyeResidence #JosephStabile #CustomDesign #ArchitecturalFeatures #PersonalStyle

Rodrigo Oliveira, a renowned Brazilian landscape architect, has cultivated a distinctive naturalistic approach over his 30-year career, earning him a reputation as one of Brazil's most sought-after professionals in the field. His philosophy, rooted in the belief that 'a garden has to be imperfect, intuitive, instinctive,' draws inspiration from Japanese garden methodologies and the inherent asymmetry of nature. Oliveira's work aims to create 'spontaneous-looking gardens that blend seamlessly into the surroundings,' resulting in spaces that appear effortlessly natural yet achieve a profound harmony between human-made structures and the environment. Oliveira's journey began in Paraná, southern Brazil, where gardens were an integral part of his childhood. Despite landscaping not being a prominent profession at the time, he pursued agronomy, graduating from the Federal University of Viçosa in 1993. After gaining experience with other landscape companies and studying arboriculture in Florida, he established his independent practice, Rodrigo Oliveira Paisagismo, in 2005. His São Paulo-based studio has since grown to a team of 40 professionals, including architects, engineers, marketing specialists, and dedicated gardeners. A pivotal moment in Oliveira's career came in 2005 when architect Isay Weinfeld invited him to design a garden for film director Hector Babenco's house in São Paulo. Oliveira embraced this opportunity to create a truly natural landscape, marking a turning point in his professional path. The garden featured a dramatic, meandering approach through dense foliage, intentionally obscuring the house until a sudden reveal, crafting a cinematic experience that resonated with Babenco's profession. This project solidified Oliveira's reputation for creating narrative-driven landscapes and led to collaborations with other prominent Brazilian architects such as Bernardes Arquitetura and Studio Arthur Casas. His naturalistic philosophy is exemplified in projects like the Patios House, designed by Studio MK27, where landscaped courtyards seamlessly connect different parts of the beach house on Rio de Janeiro's coast. Another notable example is the AEA House by Jacobsen Arquitetura, situated within a 7,000-square-meter forest near Rio de Janeiro. Here, Oliveira preserved existing vegetation, including mature trees and rock formations, to integrate the new garden with its natural surroundings. He is currently working on the Amauri 306 Building in São Paulo, another collaboration with Isay Weinfeld, which features gardens integrated across various floors, enhancing both aesthetics and the urban environment. This project highlights a growing appreciation among developers for the environmental and aesthetic benefits of well-integrated green spaces. Oliveira's approach is particularly relevant in today's context of environmental concerns. By celebrating the 'irregularity' of natural systems, including their textures, movement, and seasonality, he designs gardens that evolve gracefully over time and require minimal maintenance. His work offers a compelling alternative to more formal design traditions, advocating for a design philosophy where gardens work with nature rather than against it. This commitment to ecological principles and the creation of harmonious, low-maintenance landscapes underscores his lasting impact on Brazilian landscape architecture. #RodrigoOliveira #LandscapeArchitecture #BrazilianArchitecture #NaturalisticDesign #SustainableGardens #IsayWeinfeld #StudioMK27 #JacobsenArquitetura #Brazil

Dana Harel, a San Francisco-based Israeli designer, has launched her inaugural lighting collection under her studio, White Dirt. Harel's career trajectory showcases a diverse artistic exploration, starting with architecture and extending into ceramics and line art before her current venture into luminaires. The new collection, dubbed "Ora," comprises three tented table lamps—Ora I, II, and III—and a suspended, trapeze-like floor lamp, Ora IV. These pieces draw inspiration from Harel’s existing body of work, particularly her vases and vessels, which inform their hand-carved sculptural aesthetic. The lamps are crafted using a combination of gypsum cement, muslin, and brass, materials that contribute to their unique visual and tactile qualities. The design intentionally evokes the imagery of draped wedding gowns, suggesting moments of concealed intimacy and exploring the delicate balance between revealing and hiding forms. This interplay of materials and forms allows the collection to convey a sense of fluidity and softness, a departure from more rigid sculptural traditions. Harel describes the process of working with fabric—folding, pleating, and draping—as a refreshing experience, contrasting with her previous work that often involved tools like chisels and hammers. This shift towards softer, more pliable materials allowed her to experiment with light in a new way, focusing on how textiles interact with illumination to create ambiance and shape. The collection's design ethos embraces a certain spontaneity, reflecting Harel’s approach to her creative process. Each piece in the Ora collection stands as a testament to her evolving artistic language and her ability to translate diverse inspirations into functional art. A notable and unconventional source of inspiration for Harel was a scene from the HBO series *Succession*, where characters Tom Wambsgans and Cousin Greg consume a rare delicacy with napkins tented over their heads. This seemingly obscure reference underscores Harel's willingness to draw from unexpected cultural moments, transforming them into artistic concepts. The designer interprets this act of "masking shame" or "heightening pleasure" as a metaphor for the lamps' ability to create intimate, almost cloistered, environments through their draped forms. The sculptural swagger of the lamps is deeply rooted in these varied influences, bridging architectural precision with textile softness and cultural anecdotes. The collection as a whole is an exploration of form, light, and material, reflecting Harel's multidisciplinary background and her continuous quest for new creative expressions. #DanaHarel #LightingCollection #SculpturalLighting #InteriorDesign #WhiteDirtStudio #ProductDesign #TextileArt #ContemporaryDesign

The article introduces Karin Breve, an architect and interior designer, and her business, Iconic Design. Breve discusses the thought process behind starting her business, highlighting her passion for architecture, her Brazilian heritage, and her desire to create emotionally resonant spaces. Growing up surrounded by diverse Brazilian design influences, from Rio's vibrant energy to Oscar Niemeyer's modernism, shaped her unique perspective. After migrating to a new country, she recognized the importance of belonging and combined her architectural background with her cultural insights to establish Iconic Design. Breve emphasizes that Iconic Design goes beyond aesthetics, focusing on crafting functional, sustainable, and deeply personal environments. Her approach involves listening to clients' stories and understanding their needs, whether it's creating a home that reflects their heritage, a workspace that enhances productivity, or a commercial space embodying a brand's essence. This philosophy aims to merge practicality, creativity, and cultural identity, resulting in spaces that leave a lasting impression and inspire innovation. The distinctiveness of Iconic Design stems from Breve's blend of architectural training, cultural diversity, and commitment to meaningful spaces. She draws inspiration from Brazilian color, texture, and tradition, alongside architectural principles of structure and function, to design experiences rather than just rooms. Personalization is central to her work; she delves into clients' needs, preferences, and stories to create authentic spaces. A notable project involved a cultural space celebrating Brazilian heritage, where she fused traditional elements with modern contexts, sparking discussions on cultural preservation and design. Breve's journey to becoming an interior designer involved significant challenges, including cultural differences, language barriers, and navigating a new professional landscape after moving from Brazil. Despite initial rejections and the competitive market, she persevered by focusing on her strengths, unique background, and passion. She learned to adapt to new market preferences and integrated her Brazilian roots into her designs, offering a distinctive style. Building trust and reputation required active networking and seeking out projects aligned with her values. She highlights resilience as a crucial lesson, viewing setbacks as opportunities for growth and trusting the process. Authenticity has been key to connecting with clients who appreciate her vision. Breve's ultimate goal for Iconic Design is to transform lives by creating spaces that elevate the human experience. She believes design can foster connection, whether through a sanctuary-like home, a creative workspace, or a public area that tells a unique story. She concludes by stating that Iconic Design aims to create environments that are truly iconic, reflecting passion, heritage, and the power of design. The article also includes a detailed itinerary for a friend visiting Los Angeles, offering a mix of iconic landmarks, cultural experiences, and culinary recommendations across seven days. This section provides specific suggestions for breakfast, lunch, dinner, and activities in various parts of LA, from Hollywood and Griffith Observatory to Venice Beach, The Getty Center, and the Arts District, reflecting a local's perspective on enjoying the city. #KarinBreve #IconicDesign #InteriorDesign #Architecture #BrazilianCulture #Entrepreneurship #CulturalIdentity #LosAngeles

The temporary urban installation 'Lucerna,' created by Madrid-based experimental architecture practice bouzas.del aguila, transformed the main patio of the Puríssima Concepció Monastery in Tortosa, Spain. The installation, a monumental lamp standing over six meters high and covering 55 square meters, integrated light and color into the 17th-century historical building. During nighttime, the translucent structure emitted vibrant hues that extended beyond the monastery walls and into the street. The project's name, 'Lucerna,' drew inspiration from the dual meaning of the word. In contemporary usage, 'lucerna' refers to upper openings that allow natural light into a space. Historically, Romans used the term for ancient ceramic oil lamps, the earliest forms of light sources. The architects, Manuel Bouzas and Santiago del Águila, aimed to bridge these interpretations, offering a modern reinterpretation of traditional lamps that once illuminated significant sacred spaces. 'Lucerna' was developed for the 'A Cel Obert' architecture festival in 2021, an event designed to highlight the heritage of Tortosa's historic center. The festival sought to re-engage the community with the city's patios and cloisters through temporary installations, reviving these historical gathering places with architectural and artistic interventions. The collaboration with lighting designer Ana Barbier was instrumental in bringing the vision to fruition. The construction of the monumental lamp involved six wooden rings, each fitted with an LED light strip along its inner edge. The entire structure was suspended from the monastery's cornice using a system of wires and turnbuckles. A corrugated translucent fiberglass membrane was then used to cover the rings, effectively guiding both natural and artificial light downwards. An integrated staircase allowed visitors to ascend into the lamp's interior, providing a unique vantage point to view the 'cel obert' (open sky) framed by the installation's organic form. This design invited visitors to explore and re-experience the city's overlooked historical spaces. By juxtaposing contemporary design with the historical context of the monastery, 'Lucerna' created an immersive experience that highlighted the interplay of light, architecture, and history, fostering a renewed appreciation for Tortosa's cultural heritage. The installation functioned as a beacon, drawing attention to and reactivating these significant urban areas. #LightInstallationArt #PublicArt #ArchitectureInSpain #TemporaryInstallation #MonasteryRenovation #UrbanIntervention #ArchitecturalLighting #CulturalHeritage #BouzasDelAguila

The art of azulejo, glazed ceramic tilework, is deeply embedded in Portugal's cultural identity, with its origins tracing back to the 13th century following the Moorish invasion. Initially featuring Islamic motifs like knotwork, the art form gained widespread popularity in the 16th century when Portuguese leaders began commissioning these mosaics, leading to localized production. This shift marked the emergence of a "scenography" in azulejo, incorporating dynamic patterns of flowers, dolphins, and cherubs by the 17th century. The National Azulejo Museum in Lisbon, housed in a former convent, showcases this evolution through chronological exhibits, including a notable 75-foot panorama of Lisbon from before the 1755 earthquake, widely attributed to Spanish artist Gabriel del Barco. Azulejos are created through a meticulous process involving baking tiles, applying glaze colors (primarily blue, but also yellow and green) with potent ink diluted with water, and then refiring them at extremely high temperatures exceeding 1,000 degrees Fahrenheit. This glazing makes the tiles remarkably resilient against weather elements and enhances their true colors. Unlike tilework in other countries, Portuguese azulejos are integral to the architecture and context of their setting. The mosaics are not merely decorative; their designs and narratives are specifically created for the places they adorn, conveying deep meaning and historical context. Notable examples of azulejo work can be found throughout Portugal. Porto, for instance, serves as an open-air museum for these tiles, with the São Bento Railway Station featuring over 20,000 tiles depicting key moments in Portuguese history by Jorge Colaço. The Church of St. Ildefonso in Porto also boasts 11,000 blue-and-white tiles. Religious sites like the Chapel of the Souls in Porto use azulejos to bring biblical stories and figures to life, reinforcing their significance to worshippers. The Fronteira Palace near Lisbon is another stunning example, with its Battle Room containing intricate scenes from the 17th-century Portuguese Restoration War. The use of azulejos continued to evolve, adapting to new cultural concepts and societal needs. Following Lisbon's devastating earthquake, azulejos were used on building facades as an economical and efficient way to rebuild the city, transforming its landscape into a theatrical setting and providing a sense of hope. In the 20th century, contemporary artists like Maria Keil integrated azulejos into public spaces such as Lisbon's Metro stations, creating vibrant installations. Even today, artists like Diogo Machado (Add Fuel) and community art projects are reinventing the azulejo aesthetic, utilizing digital techniques and collaborative efforts. To experience this unique Portuguese art form, visitors can explore specific sites such as the Monastery of São Vicente de Fora, which houses the largest collection of 18th-century azulejos depicting Jean de La Fontaine's fables; the National Palace of Sintra, adorned with heraldic and hunting scenes; and the Sé Velha (Old Cathedral in Coimbra), featuring 16th-century geometric motifs. The National Azulejo Museum offers a comprehensive historical overview and workshops. Additionally, artists like Caroline Vidal in Lisbon provide hands-on workshops, allowing participants to learn the techniques and appreciate the skill involved in painting these iconic tiles, thereby immersing themselves in a fundamental aspect of Portuguese culture. #PortugueseCulture #AzulejoTilework #CeramicArt #ArchitecturalDecor #CulturalHeritage #Lisbon #Porto #ArtHistory #PublicArt

Dana Toledo's journey began in Los Angeles, where she established her career as a hospitality interior designer. She relocated to LA from Atlanta in 2014 and developed a strong connection to the city, building her chosen family and professional network. In the summer of 2021, after a 5-month layoff due to the pandemic from a respected design firm, she experienced a pivotal shift. This period, while challenging due to reduced staff and increased workload, offered invaluable creative and professional growth and mentorship opportunities. The shift to remote work in March 2020 freed up commute time, allowing Toledo to rediscover metalsmithing, a craft she had recently picked up. Her enjoyment in interior design involved material curation during the concept phase, appreciating the process of combining diverse materials like metals, fabrics, stone, glass, wood, and wallpaper to form cohesive palettes. This tactile satisfaction translated into metalsmithing, where she found flow and could spend hours filing, sawing, and hammering metal to create jewelry. Upon being laid off, Toledo launched a collection of ten rings, selling seven within 48 hours, suggesting a potential livelihood as an independent artist. However, a mutual decision to end her relationship with her partner put her jewelry plans on hold as she prioritized finding new housing. Initially set on staying in LA, the financial strain of zero income made living alone daunting. She quickly pivoted, signing a lease for a loft in Atlanta three weeks before her LA lease ended. With limited funds and no clear job prospects, she left LA, a city she loved, to return to Atlanta, a place she had previously vowed never to revisit. The initial months in Atlanta were challenging. The city had changed significantly, and she was starting anew, compounded by personal losses earlier that year. Despite anxiety from unemployment and limited resources, perseverance eventually led to positive changes. She secured a website design client, leveraging a bootcamp course she had taken, and received a call for a remote, part-time position from her first interior design job in LA. Toledo credits this turnaround to the principle of starting with what one has and doing what one can. Moving back to Atlanta, though impulsive, proved transformative. She rejected the option of moving in with her mother in Texas, fearing complacency, as her ambitious nature required a catalyst to pursue her dreams of becoming a successful multidisciplinary artist and creative entrepreneur. Toledo later launched Medjo Rebelde, translating to “A Little Rebellious” in Tagalog, a brand born from years of self-discovery and challenging cultural expectations within her Filipino upbringing. Despite early artistic inclinations, her father discouraged art, labeling it “useless,” which led her to abandon art for 15 years. Coming from a family of medical professionals, she pursued a science-oriented academic path, moving from pre-pharmacy to IT, then Exercise Science, ultimately graduating with a B.S. in Exercise & Health Science, aiming for a doctorate in Physical Therapy. Her interest in interior design was initially rejected by SCAD. A year into living in LA, inspired by the city's diverse creative influences, she reconsidered grad school and enrolled in UCLA’s Interior Design & Architecture program, simultaneously starting her career as a hospitality interior designer. This marked LA as a place that allowed her to embrace her creative identity, while Atlanta facilitated its full adoption. The decision to return to school for interior design at 24 was daunting, fueled by fear of family disapproval. After exploring various options, including sports marketing, she found a Craigslist job that launched her interior design career, confirming her path. Interior design became her entry into the creative world, leading her to explore metalsmithing, painting, and eventually apparel design with Medjo Rebelde. This passion project, developed during her transition from LA to Atlanta, emphasizes stepping out of comfort zones and pursuing passions, irrespective of societal expectations, while respecting heritage. She aims to empower Filipinos and Filipino-Americans to break away from traditional mindsets, encouraging self-expression and permission to live authentically, fostering a “little rebellious” spirit. Toledo acknowledges the bumpy but rewarding path to thriving as a creative entrepreneur and building stronger family relationships through living her truth. Toledo finds the creative process itself most rewarding, entering a state of flow where time ceases to exist. Working primarily with her hands in metalsmithing or painting, she values the direct transfer of ideas to a medium. The satisfaction of seeing thoughts materialize into a unique, personal expression, open to interpretation, is a core motivator. To foster a supportive environment for artists, Toledo advocates for active engagement and open-mindedness. Learning about the artist, being present with their work, and recognizing the significant thought and effort invested in concept development and presentation are crucial. She emphasizes that artistic creations, whether by a painter, musician, baker, or architect, are carefully curated and deliberately planned, resulting from extensive repetition and experimentation. Financial support is acknowledged as vital for sustaining artistic endeavors, akin to any business. Beyond financial contributions, she encourages continued engagement, sharing artists’ work with others, and fostering deeper connections through repeated interactions. #DanaToledo #CreativeJourney #InteriorDesign #Metalsmithing #Entrepreneurship #MedjoRebelde #FilipinoCulture #CareerTransition #ArtistSupport

The Xingu collection by Brazilian designer Maria Fernanda Paes de Barros for Yankatu Design represents a collaborative effort with Mehinako artisans from Alto Xingu in Brazil’s Mato Grosso state. This collection uniquely merges traditional craftsmanship and materials with contemporary technological applications, such as CNC carving, to create modern furniture interpretations. The design process emphasizes the utilization of locally sourced materials, including cabreuva wood, straw yarn, woven stems from the buriti palm tree, and natural dyes and pigments, highlighting a commitment to sustainability and cultural preservation. The collaboration ensures that indigenous knowledge and techniques are central to the creation of each piece, while also introducing innovative methods for precision and efficiency in production. Key pieces within the Xingu collection exemplify this fusion. The Kaüpuna swing, for instance, features buriti yarn meticulously harvested, cleaned, and dried by Mehinako women. This natural material is intricately woven and combined with a bench seat crafted from wood by Mehinako men, which is then adorned with traditional graphics derived from charcoal and annatto-based pigments. This particular piece showcases a direct application of both male and female artisanal contributions within the Mehinako community, preserving their distinct roles in craft. Similarly, the Embira bench draws inspiration from the construction of traditional houses. It is made from cabreuva wood, known for its durability and aesthetic appeal, and employs moorings fashioned from strips of embira tree bark, a method deeply rooted in traditional building practices. The Oca closet, another significant item in the collection, reimagines traditional buriti and cotton woven rugs by transforming them into the sheathing for a tall, étagère-like cabinet supported by slender legs. This application not only gives new life to traditional textiles but also demonstrates their versatility in contemporary furniture design. The Shelter credenza features two tambour-style sliding doors composed of exceptionally narrow (6 mm) turned cabreuva slats. These slats are intricately woven with cotton threads, naturally dyed using raw materials collected around the Kaüpuna village in Upper Xingu. This piece highlights precision craftsmanship and the aesthetic value of natural dyes. The collection's centerpiece, the Beiju table, is carved from solid cabreuva wood and stands on brick-shaped wooden legs. A distinctive element of the table is the incorporation of draped beaded necklaces, traditionally used in Mehinako rituals, which are integrated into the design, adding cultural depth and symbolic meaning to the furniture piece. This collection ultimately serves as a bridge between rich cultural heritage and modern design sensibilities. #YankatuDesign #MariaFernandaPaesDeBarros #XinguCollection #MehinakoArtisans #BrazilianDesign #SustainableMaterials #TraditionalCraftsmanship #ModernFurniture #CulturalHeritage

Dana Arbib, the designer behind the brand A Peace Treaty, has established a New York headquarters that serves as a physical embodiment of her globally-inspired aesthetic. After completing a two-year residency in the CFDA Incubator, which provided office space in Midtown Manhattan, Arbib sought a more distinctive environment for her brand. Her search led her to a pre-war building on cobblestoned Lispenard Street in Tribeca. The studio space was chosen for its blend of modern and rustic elements, a departure from the corporate office settings Arbib wished to avoid, thus preserving her creative freedom. A significant draw of the Tribeca studio was its existing floor-to-ceiling shelving and a functional rolling library ladder. These features proved ideal for displaying the myriad of objects Arbib collects during her extensive travels. Her journeys take her to diverse locations, from Pakistan to Peru and Turkey, where she sources textiles, learns traditional production techniques, and acquires unique baubles. The displayed artifacts include handwoven bags and accessories procured from an artisan market in Cuba, a custom-designed leather trunk from India, and a train case from London, now repurposed for transporting jewelry. The studio's decor also incorporates family heirlooms, such as a collection of masks from South Africa and Namibia dating back to the late 1970s, a piece of art by Israeli artist Michael Argov, and an Egyptian tomb statue. The design of the studio was not merely an accumulation of these global finds but was directly influenced by A Peace Treaty’s Resort 2017 collection. This collection drew inspiration from the rich legacy of woven African art, featuring crocheted caftans, scarves, and intricately embroidered textiles. This thematic connection is evident throughout the workspace, with numerous pieces from Africa, including baskets and handmade crafts, integrated into the decor. Most of the baskets in the studio are from Rwanda, with the exception of a leather-handled bolga basket crafted in Ghana. Arbib emphasizes that these elements celebrate traditional handmade techniques, a core value reflected in both the brand's collections and its workspace. The studio, therefore, functions not only as a functional workspace but also as a curated showcase of global artistry and Arbib's personal narrative of travel and cultural appreciation, offering an alternative to mass-produced decor. #HomeDesign #InteriorDesign #GlobalInspiration #TribecaStudio #DanaArbib #APeaceTreaty #TextileArt #CulturalDecor

The Capilla del Retiro, a new chapel located in Santuario Santa Teresa de Los Andes in Auco, Chile, exemplifies the country's unique approach to contemporary architecture. Designed by Cristian Undurraga of Undurraga Deves Arquitectos, the chapel is situated in the Valley of the Andes, adjacent to Auco's Carmelite Monastery. The existing monastery features red roofs and white walls, nestled into the valley floor. In contrast, the Capilla del Retiro is a modest, square concrete structure, characterized by an arrangement of four intersecting concrete walls. These walls are raised on blocks, and a simple cross on a pole serves as a subtle marker for the chapel. Upon closer inspection, the chapel reveals architectural complexities beyond its initial unassuming appearance. Beneath the grid formed by the four substantial concrete walls, a significant cavity has been excavated. This roughly carved space is lined with rustic stone, creating an artificial geographical feature that integrates the structure with its natural surroundings. Within this stone-lined void, the actual chapel takes the form of a wooden box. This wooden structure is ingeniously built from recycled railway sleepers and is suspended from the overarching concrete framework. Further enhancing this unique design, the entire wooden chapel is enclosed by glass walls. This creates a striking visual effect: a room that appears to float within a void, effectively inverting the traditional concept of a top-lit ecclesiastical space. Access to the worship space is facilitated by a winding ramp that begins from the north. This ramp guides visitors downwards, taking them underground before they eventually emerge into the intimate and warm interior of the chapel. The design intentionally limits distant views from within the worship area, a deliberate choice aimed at fostering contemplation and focusing the mind. The natural light that permeates the space is carefully filtered by the surrounding stone, which imparts a warm glow. This combination of filtered light, rustic materials, and a secluded approach creates a calm and life-affirming sanctuary amidst the rugged landscape of the Andes. Ellie Stathaki, the Architecture & Environment Director at Wallpaper*, authored the piece. Her background includes training as an architect at the Aristotle University of Thessaloniki in Greece and studying architectural history at the Bartlett in London. Since joining Wallpaper* in 2006, she has established herself as a journalist, covering architectural developments globally and interviewing prominent figures in the field. Her experience extends to judging panels, moderating events, curating exhibitions, and contributing to several architectural publications. #Architecture #ChileanArchitecture #ChapelDesign #ConcreteArchitecture #SustainableDesign #RecycledMaterials #AndesValley #ReligiousArchitecture #CristianUndurraga

Max Strang, founding principal of Strang Design, along with partners Alexandra Mangimelli and Elizabeth Starr, crafted a unique Miami home for a Brazilian family, diverging from typical South Beach aesthetics. Situated on a 1.5-acre oak grove, 20 minutes from downtown, the residence integrates the family's heritage through its design, materials, and landscaping. The original house on the property was demolished to allow for a new construction that seamlessly blends with its natural environment. Strang Design specializes in contextualizing homes using natural materials, avoiding a 'plain white box' approach. For this project, this philosophy resulted in an earthy color palette and strategic placement of plant life and the structure itself, creating a harmonious relationship between the building and the landscape. The design team carefully sited the house to work with existing oak and gumbo limbo trees. Planters wrapping the second-floor exterior, supplemented by aluminum privacy louvers that act as trellises, will eventually allow vines to partially envelop the facades. The project embodies Strang Design’s 'environmental modernism' fused with Brazilian tropical modernism. An H-shaped footprint allows abundant light to penetrate all corners of the home. Many rooms feature floor-to-ceiling glass pocket doors that open onto a pool, fostering a fluid indoor-outdoor connection while maintaining privacy. The design also addresses Miami's hot climate with generous shade and an open layout that facilitates breezes. The openness accommodates the clients' entertaining lifestyle, with various seating areas and smooth circulation between indoor and outdoor spaces, including a patio-adjacent club room with an exhaust system for cigar smoke. The furnishings reflect the owners' journey and heritage, featuring midcentury pieces by designers like Jorge Zalszupin and Jean Gillon, who relocated to Brazil and were known for their use of local materials and traditional techniques. Sergio Rodrigues, often called the father of Brazilian furniture design, also contributes pieces that complement the country's tropical climate and relaxed lifestyle. While the dominant palette is earth-toned with travertine flooring and extensive teak paneling, vibrant splashes of color come from the homeowners' international art collection. Works by Elias Sime, Janaina Tschäpe, and Amir Nikravan are thoughtfully integrated, with one piece, Sime's 'Tightrope: I Want to Slow Down and Think,' finding a serendipitous placement in a secondary seating area after the house was under construction. In line with South American tradition, the kitchen is located off to one side rather than being a central hub. It features a striking geometric-patterned encaustic mosaic backsplash, adding a dramatic focal point. The residence maintains a clear public/private division; the more secluded second floor houses bedrooms, a family room, and a gym. One wing is dedicated to guest quarters and the two children's rooms, while the other accommodates the primary suite. Despite its substantial size of 10,000 square feet, the home contains only five bedrooms, prioritizing spacious and tranquil sanctuaries over maximizing the number of rooms. The 1.5-acre plot features a garden designed in collaboration with La Casona Garden. Landscape designer Ana Miron describes it as a 'manifold sensory experience of sight, smell, hearing, and taste,' incorporating diverse plantings, native species, and a section certified by the National Wildlife Federation as a wildlife habitat, creating an ideal environment for both nature and the human residents. #TropicalModernism #MiamiHome #StrangDesign #EnvironmentalModernism #IndoorOutdoorLiving #BrazilianInfluence #SustainableDesign #ArtCollection #LandscapeDesign

Marina Baisel, the founder of Rarares, a contemporary art space in DIFC, is approaching the art gallery model with a unique perspective, informed by her previous career in interior design. While Dubai's art scene typically features either large commercial galleries showcasing international artists or smaller ones dedicated to local talent, Rarares aims to bridge this gap by bringing both emerging and established global artists whose works are rarely exhibited in the UAE. The gallery's name, derived from the Latin word 'rarus' meaning rare, reflects this curatorial philosophy. Baisel's background in interior design provides a distinct advantage in the art world. Having spent nearly a decade incorporating artistic elements into interior projects, she understands the synergy between art and living spaces. She views interior design as a canvas where art plays a crucial role in enhancing the overall experience, capable of transforming spaces, evoking emotions, and narrating stories. This passion for the artistic component of interior design motivated her transition to becoming a gallery owner, seeing it as a natural progression to combine her love for aesthetics with a desire to support and promote artists. Her interior design expertise significantly influenced the gallery's physical design and exhibition curation. Baisel believes a gallery should be an immersive environment that enhances the viewer's experience, not just a display space. Consequently, the layout, lighting, and overall aesthetic of Rarares are meticulously planned to highlight each artwork, creating a cohesive narrative throughout the space. This careful curation extends to individual exhibitions, where Baisel leverages her design knowledge to consider how artworks interact with each other and their surroundings. Each exhibition is thoughtfully organized to guide visitors through the space, fostering meaningful engagement with the art. Aspects such as lighting, forms, and palettes are considered to establish a harmonious balance between the artworks and the gallery setting. Currently, Rarares is featuring 'Eidos,' a solo exhibition by multidisciplinary artist Mederic Turay, which marks his debut collection of ceramic works and his first show in the UAE. Following this, in April, the gallery will host 'Powerful Spring,' a group female exhibition that explores the philosophical concept of soft power and acceptance, serving as an ode to feminine strength. The gallery's approach reflects a thoughtful integration of art and design principles, offering a fresh perspective on art display and engagement within the Dubai art scene. #Art #FineArt #Gallery #InteriorDesign #DubaiArtScene #ContemporaryArt #ArtCuration #MarinaBaisel

The article highlights the often-overlooked interior design trend of pedestal styling, as advocated by leading interior designer Charlotte Rey of Campbell-Rey. Pedestals, traditionally Roman architectural features later embraced by Victorians for plant display, are making a significant comeback. Rey emphasizes the versatility and aesthetic impact of pedestals, noting their ability to elevate a room's visual interest and introduce diverse materials like stone or marble. Pedestals serve multiple functions in interior design, offering a way to draw the eye upward and add layers of interest to a space. They provide a dynamic surface for displaying various items, allowing for seasonal or mood-based changes. The choice of material for a pedestal can significantly influence the room's aesthetic, adding a touch of elegance or historical gravitas. Charlotte Rey offers three key design tips for effectively incorporating pedestals into home decor. Firstly, she suggests using classic pedestals to enliven corners in various rooms, including sitting rooms, entranceways, or dining rooms. A well-chosen pedestal, topped with items such as a Murano glass vase, a plaster bust, or a large shell, can create an understated drama and transform the room's atmosphere. She stresses that the displayed items do not necessarily need to be precious; even a simple bouquet of flowers can make a significant impact. Secondly, the article advises using pedestals to display favorite pieces, noting that pedestals, pillars, and columns inherently add a historical aspect and gravitas to a room. Rey shares her personal approach of elevating even inexpensive decorative items by placing them on a pedestal, thereby enhancing their perceived value and visual appeal. She also suggests constantly looking for unique pedestals in antique shops and online auctions due to their potential scarcity. Thirdly, a pedestal can be positioned as a focal point in an entryway. Placing a pedestal table centrally can create an elegant and welcoming impression. This approach allows for seasonal decorative changes or the display of eye-catching objects. However, it is crucial to complement this with ample entryway storage solutions to prevent the pedestal from becoming a cluttered surface for everyday items. The article also provides practical advice on how to decorate a pedestal, suggesting items such as sculptures, vases, or potted plants. It also mentions that adding a lamp to a wall-adjacent pedestal can enhance its decorative impact. Pedestals can be placed in room corners for interest or in pairs flanking doorways for grandeur. Larger pedestals can serve as central decorative focal points in living spaces or entryways, illustrating their adaptability in various home settings. #InteriorDesign #PedestalStyling #HomeDecor #CharlotteRey #DecoratingIdeas #ArchitecturalFeatures #VintageDecor #DisplaySolutions #EntrywayDesign

The article explores current and emerging wall art trends, emphasizing art's crucial role in interior design. It highlights how art, often a significant investment, shapes the mood, texture, and personality of a home. Designers such as Amy Lau and Natalia Miyar view art as a foundational element, using it to introduce color and build a cohesive design narrative. The piece focuses on several key trends that are gaining traction or experiencing a resurgence in popularity. One prominent trend is the revival of vintage neon signs, which add a distinctive character and retro charm to interiors. Originating from advertisements in the 1960s, these brightly lit artworks are now seeing a boom, partly fueled by social media platforms like TikTok. Designers like Molly Torres Portnof utilize custom neon signs to create visual interest and infuse energy into living spaces, demonstrating how they can be tastefully integrated into modern decor. Textured tapestries and wall hangings are another significant trend, moving beyond their traditional associations to find a place in contemporary settings. Designers, including Pablo López Navarro of Casa Josephine, are incorporating textiles like patchwork, Asian textiles, and historical tapestries to bring warmth, coziness, and depth to rooms. This approach challenges the conventional use of tapestries, proving their versatility in blending with modern pieces and creating a unique aesthetic. The article also discusses the growing interest in line-drawn frescos, which transform walls into canvases for minimalist and elegant art. By eliminating traditional framing, these murals, exemplified by the work of Florence Bamberger, offer an architectural and graphic quality, reflecting the surrounding environment or specific design inspirations. This trend provides a unique, personalized artwork that becomes an integral part of the interior's structure. Abstract and colorful art is presented as a strong trend, driven by its psychological impact and ability to uplift spirits. Celine Erlam from Indie & Co notes that clients are increasingly seeking vibrant, block-color prints to brighten their schemes. The article advises thoughtful integration of these pieces, ensuring they either complement or deliberately contrast with the room's existing color palette to create focal points. The use of colorful art to invigorate subdued or neutral palettes is highlighted as a strategic design choice. Mead Quin’s design, featuring a Damien Hirst piece in a white room, illustrates how bold art can provide expression and personality within a restrained interior. This allows homeowners to invest in art that holds personal meaning, regardless of the artist's renown, as a means of personal expression. The growing emphasis on establishing personal art collections, rather than solely focusing on well-known pieces, is also discussed. Kati Curtis encourages homeowners to collect art that resonates with them, including affordable finds from charity shops or antique stores. This approach prioritizes personal narrative and style, allowing individuals to curate a diverse collection that reflects their life experiences and artistic preferences. Ceramic wall art, featuring tastefully hung plates and bowls, offers a rustic yet modern aesthetic. This trend, seen in high-profile homes like Gwyneth Paltrow's, brings texture and a sense of local craftsmanship to interiors. Pablo López Navarro explains that this trend evokes traditional decoration while maintaining a contemporary feel, conveying casualness and relaxation through handmade ceramics. Finally, the article touches upon the trend of incorporating tongue-in-cheek and playful wall art, aligning with a broader appreciation for kitsch and vintage styles. Designs like Studio HÁM's colorful Andy Warhol-inspired kitchen piece demonstrate how art can introduce humor and upliftment. The article concludes by stressing the importance of adventurous framing, suggesting that mixed frames and thoughtful use of negative space can enhance each artwork's identity and visual impact. #WallArtTrends #InteriorDesign #HomeDecor #NeonSigns #Tapestries #FrescoArt #AbstractArt #ArtCollection #CeramicArt

Victor B. Ortiz Architecture unveils the design for the Cacao Residence, a new dwelling situated on the northern coast of Brazil within the exclusive Txai Resort in Itacare. The project integrates European design principles with traditional Brazilian craftsmanship and natural materials to create a tropical hideaway. The design is specifically tailored to the client's vision, combining simplicity and elegance with the rich tones and textures of the tropical environment. The residence is conceptually organized around a native Cacao tree, reflecting a deep connection to the local ecosystem. Spanning two levels, the lower floor houses the main living areas and a swimming pool, while the upper level is dedicated to private spaces. This upper floor includes two bedroom suites, a master bedroom, and a gym and office area. The main entrance, located on the upper level, is illuminated by a wooden pergola skylight that floods the space with natural light. The guest suite is strategically placed on the lower level to ensure maximum privacy and to take advantage of the expansive views. The living and dining areas on the lower level are designed for seamless integration with the outdoors. Large sliding doors open directly onto an outdoor terrace, effectively extending the interior living space to meet the adjacent swimming pool. This architectural choice blurs the boundaries between indoor and outdoor environments, enhancing the tropical living experience. A key design element of the Cacao Residence is its thoughtful placement of numerous openings and windows. These features are meticulously positioned to frame specific, curated views of the surrounding natural landscape, establishing a continuous visual dialogue with the coastal environment. The material palette complements this openness, characterized by warm tones that enhance the natural feel of the residence. The walls and ceilings are finished with an off-white lime wash paint, providing a soft backdrop, while the interior and exterior flooring are unified with a light gray micro-cement, creating a cohesive flow throughout the property. Natural wood accents are used prominently in the windows, doors, the pergola skylight, casework, and furniture, adding warmth and texture. The dwelling's front facade and outdoor kitchen are clad in rammed earth, a choice that not only celebrates locally sourced materials but also highlights traditional construction techniques. This use of rammed earth contributes to the home's aesthetic, which balances rustic and monolithic elements with clean, curved lines and elegant metal fixtures. The overarching goal of the design is to provide a comfortable and fully-equipped home capable of hosting multiple guests, offering urban amenities within a tropical setting, and deeply prioritizing the outdoor experience and connection to nature. #Architecture #ResidentialArchitecture #BrazilianArchitecture #RammedEarth #CoastalDesign #SustainableDesign #TropicalArchitecture #LuxuryHomes #VictorOrtiz