Alaska Alaska and Limbo Accra on supporting Black-on-Black design and more

The Black Artists + Designers Guild (BADG), in collaboration with architects Leyden Lewis and Nina Cooke John, and featuring interiors by 25 BADG creatives, has conceptualized the Obsidian Virtual Concept House. This interactive dwelling, set in California's Oakland Hills in 2025, serves as a manifestation of an Afro-centric futurist vision, aiming to embrace possibility and freedom for a Black family through thoughtful design. The project is a central component of the month-long OBSIDIAN EXPERIENCE, an initiative by BADG to elevate the home as a space for Black imaginations and futures to thrive. Malene Barnett, artist, activist, and founder of BADG, emphasizes that 'home' is both a physical space and a feeling of relaxation, non-judgment, and being surrounded by loved ones. This philosophy underpins the entire Obsidian project, which seeks to create layered spaces that perpetually evoke these feelings. The virtual concept house allows visitors to explore various rooms, learn about the designers' inspirations, and even virtually shop for products and fixtures specified within the designs. This interactive element makes the experience engaging and practical for those seeking inspiration. Architects Leyden Lewis and Nina Cooke John led the visualization of the house, grounding their work in the belief that Black futures can be equitable, sustainable, and liberating. They describe the Obsidian Concept House as a supportive environment for the mental, physical, and spiritual well-being of the Black family, fostering expressions of joy and creativity. The architectural design integrates sustainable building practices, including geothermal heating, solar energy, rainwater harvesting, and passive-house systems, highlighting a commitment to environmental responsibility alongside cultural relevance. The interiors of the house are diverse, each informed by the unique family histories and design approaches of the participating BADG members. These spaces are dedicated to spirituality, health, food, art, and nature. Examples include Cheryl Umbles's 'An Abundance of Welcome' entryway, Cheryl R. Riley's softly lit, turquoise meditation room, Everick Brown's transformative recreation room for connection, and Linda Allen's 'I am Good Enough: A Haven for the Black Overachiever,' which functions as an artist studio and garden. Malene Barnett's 'Sankofa-Legacy Wall,' featuring ceramic tiles inscribed with ancestral names, acts as the home's centerpiece, symbolizing Black ingenuity, strength, and perseverance, and serving as a tool for Black liberation and healing. The OBSIDIAN EXPERIENCE is launched during what BADG refers to as 'The American Awakening,' a period identified as an opportunity for a 'reawakening of the Black imagination.' The project aims to demonstrate how domestic spaces can reflect the diverse identities of inhabitants, address environmental injustice, inspire new ways of living, and ultimately pave the way for a more authentic freedom. The initiative is a collaborative effort, supported by media partners such as ELLE Décor, House Beautiful, Town & Country, and VERANDA, with Hearst Magazine's Luxury & Design Collection as the media sponsor. #VirtualHome #BlackDesigners #AfroFuturism #SustainableArchitecture #InteriorDesign #CulturalHeritage #CommunityBuilding #BlackArtistsAndDesignersGuild #DesignInnovation

This article explores the architectural landscape of Alaska, specifically focusing on the unique challenges and opportunities for modern design in this extreme environment. It highlights the home of Valerie Phelps and Peter Burke, designed by Mayer Sattler-Smith, an Anchorage-based design company aiming to modernize Alaskan architecture. Valerie Phelps expresses her long-held desire for a glass house, a vision realized through her current residence, which features 40 feet of floor-to-ceiling windows offering a 270-degree panorama of Cook Inlet, mountains, and the distinctive Alaskan sun. The house's design capitalizes on these views, creating an immersive experience with the surrounding nature. The article delves into the historical context of migration to Alaska, noting that while many imagine pioneers drawn by romanticized vistas, a significant portion arrived seeking economic opportunities, particularly during the 1980s oil boom. This period transformed Anchorage into a bustling hub, which later experienced a downturn, leaving behind a somewhat vacant urban center. Petra Sattler-Smith, co-partner of Mayer Sattler-Smith, views this as an architectural 'blank slate' with immense potential for modern design, emphasizing the lack of pre-existing architectural history in Anchorage since its establishment in 1915. The Phelps/Burke residence, Mayer Sattler-Smith's first residential project, was born from the owners' contrasting desires: Valerie's for a glass house and Peter's for a home constructed from shipping containers. The architects ingeniously combined these concepts by positioning large rectangular 'containers' perpendicularly, carving out south and west-facing walls to maximize sun exposure and panoramic views of Cook Inlet. Despite the relative ease of the design process, construction in Alaska presented significant challenges due to the limited building season, constrained by extreme weather and local priorities like fishing in summer. Completed in September 2004 after two years of construction, the house is situated 750 feet up a steep mountain, offering urban living in a state known for its vast, sparsely populated areas. From the street, the home's plain steel siding and garage facade offer a modest, almost utilitarian appearance, intentionally designed to save the dramatic visual experience for the interior and the rear-facing views. The open windows and lack of curvature evoke a blend of Southern California Case Study Houses and Eastern European communist office blocks, characterized by tightly interlocked right angles. The interior living space, though 480 square feet, feels much larger due to the seamless integration of indoor and outdoor areas, creating an 'infinity pool' effect with barely visible cable rails along the walkway. This design allows for unobstructed views of the sea, sky, and mountains, giving the impression of floating. The kitchen and dining area are strategically placed directly behind the couch, without separations, to ensure these frequently used spaces also benefit from the prime views. The architects also addressed the challenges of Alaskan winters by opening the south end of the house to maximize the limited sunlight during the darkest months, and incorporating double-paned, argon-filled windows and hydronic radiant heating in concrete floors to ensure warmth and comfort. The article concludes by highlighting the architects' vision of creating structures that harmoniously respond to Alaska's incredible natural environment, viewing this as a significant challenge and opportunity for pioneering modern architecture in the region. The Phelps/Burke house exemplifies this approach, blending innovative design with the practicalities of extreme climate living, and showcasing how modern architectural principles can thrive even in the most rugged and remote settings. #AlaskaArchitecture #ModernDesign #GlassHouse #ArchitecturalInnovation #ExtremeEnvironment #MayerSattlerSmith #CookInlet #SustainableDesign #PanoramicViews

This article highlights a curated selection of Black-owned businesses focusing on home decor, emphasizing the importance of supporting these brands to uplift the Black community and promote diversity in the design world. The featured companies offer a wide array of products, from luxurious bedding and handblown glassware to unique vintage pieces and contemporary furniture. Linoto, founded in 2007, specializes in high-quality linen products, including bedding, bath towels, and window treatments. Estelle Colored Glass, inspired by founder Stephanie Summerson Hall's grandmother, provides exquisite handblown colored glassware. Global Attic, based in Chicago, sources luxe home decor from Haiti, Africa, and Asia. Livvy & Neva, established by interior designer Keita Turner, offers one-of-a-kind pillows crafted from vintage textiles. Ceramic Meltdown showcases the work of ceramist Kyle Lee, known for bright colors on traditional forms. Clare, founded by interior designer Nicole Gibbons, disrupts the paint industry with a curated color palette and a direct-to-consumer model. Jungalow, created by designer Justina Blakeny, is recognized for its vibrant textures, colors, and bold prints. Malene Barnett, an activist and multidisciplinary artist, produces paintings, sculptures, and rugs influenced by her African heritage and is the founder of the Black Artists + Designers Guild. AphroChic, led by Bryan Mason and Jeanine Hayes, celebrates Black home culture through a lifestyle brand including a magazine, podcast, and decor products. Sheila Bridges, an A-List designer, incorporates her iconic Harlem Toile print into various items like wallpaper, clothing, and Moroccan slippers. Takussanu Senegal supports Senegalese women artisans by offering beautiful handmade baskets, ensuring fair wages and employment. Expedition Subsahara, founded by a former photographer, sells unique accessories to fund a STEAM school for girls in Senegal, dedicating twenty percent of proceeds to education. Eva Sonaike, a London-based company, features bold accessories with a West African aesthetic. Eclectic Home in New Orleans offers a diverse range of items from quirky ceramic pieces to streamlined case goods. Dressing Rooms Interiors Studio in Charlotte specializes in one-of-a-kind vintage decor. Peace & Riot, a Brooklyn boutique, presents housewares and bath accessories reflecting Caribbean and African heritages. Nicole Crowder Upholstery, a Washington, D.C.-based studio, creates bespoke furniture and transforms classic pieces with eclectic fabrics. Modish Decor Pillows, an online and pop-up retailer, sells luxurious throw pillows and tabletops. Mitchell Black, a Chicago-based brand, provides custom wall art, wallpaper, textiles, and rugs. K-apostrophe, led by mixed-media artist K’era Morgan, offers globally influenced prints, blankets, pillows, and tapestries. Bolé Road Textiles, from Ethiopian-born designer Hana Getachew, features soft goods with rich colors and graphic patterns inspired by her cultural background. Goodee World, a socially conscious platform by Byron and Dexter Peart, sells home decor made by minority artisans. Rochelle Porter, an Atlanta-based brand, produces bright, sustainable home accessories and textiles. xNasozi, founded by Nasozi Kakembo, blends international experiences and social justice in her Brooklyn store. Johanna Howard creates supersoft alpaca textiles inspired by her Swedish upbringing. Domain by Laura Hodges Studio, based in Washington, D.C., and led by interior designer Laura Hodges, offers home accessories reflecting her Norwegian, British, and Jamaican heritage. Baughaus Design combines modern and traditional materials to create handmade ceramics, lighting, furniture, and soft goods. Marie Burgos Design, inspired by Paris, features a collection of luxe lighting, furniture, and decorative accessories. Blk Mkt Vintage in Brooklyn curates vintage curiosities rooted in Black history. Jomo Furniture, by Virginia-based designer Jomo Tariku, infuses African art and culture into striking furniture designs. Born Indigo offers luxurious, sustainably made coconut wax candles with unique fragrances. Lastly, 54 Kibo, named after Africa's tallest summit, is a design brand specializing in tabletop to furniture items sourced throughout the diaspora, aiming to address the underrepresentation of African artisans. #BlackOwnedBusinesses #HomeDecor #InteriorDesign #SupportBlackOwned #Designers #ArtisanalProducts #EthnicInspiredDecor #SustainableBrands

Antwaun Sargent, a New York-based critic and curator, has curated his first exhibition as a director at Gagosian, titled ‘Social Works’. This exhibition, which opened on June 24 at Gagosian’s West 24th Street gallery, explores the concept of creating and dissecting space for the betterment of individuals and their communities, particularly focusing on Black social practice. Sargent's curatorial approach is deeply rooted in over a decade of engagement with Black American artists and is characterized by his critical perspective and realistic understanding of the art world. The show features a diverse group of artists, ranging from established figures to emerging talents, and utilizes various media and site-specific installations. The exhibition highlights the intergenerational efforts of Black Americans in developing coping strategies to navigate societal barriers, drawing inspiration from oral traditions, spiritual practices, and lived experiences. Sargent's work in ‘Social Works’ reflects his ongoing commitment to addressing Black agency, moral responsibility in representation, and the significance of formal artistic merit. His influence extends beyond formal publications, encompassing informal discussions and debates with artists and curators, where he consistently challenges existing norms and advocates for self-advancement within the Black art community. The exhibition aims to foster introspection and change by presenting multifaceted perspectives on the Black American experience. Key artists featured in ‘Social Works’ include David Adjaye, Theaster Gates, Linda Goode Bryant, Rick Lowe, and Titus Kaphar. Lauren Halsey, an architect and artist, contributes site-specific sculptures, such as her 'black history wall of respect' (II) and 'box' sculptures. Halsey's work is informed by her family's history in South Central Los Angeles and incorporates found, reworked, and fabricated materials to imagine Afrofuturist possibilities, often referencing the 'FUBUarchitecture' concept. Her pieces, whether monochromatic or vibrant, engage multiple senses and underscore the urgency of civic change from the perspective of a Black woman. David Adjaye, known for his architectural achievements like the National Museum of African American History and Culture, presents his first large-scale sculpture in the US for this exhibition. This monumental work, made from compacted earth, prompts a re-evaluation of material value and aligns with his plans for the Edo Museum of West African Art in Benin City, Nigeria, which will house the Benin Bronzes. Carrie Mae Weems contributes photographs from her ongoing series 'Roaming' and 'Museums', which depict her standing within or in front of public spaces, critically examining their inclusivity. Her presence, often in an elegant black dress, symbolizes her immovable role in supporting cultural structures. Linda Goode Bryant, a veteran in New York’s art and activism scene and founder of the first Black-run gallery, Just Above Midtown, presents an interactive living sculpture titled 'Are we really that different.' Created in collaboration with architect Liz Diller, this piece is inspired by Bryant's urban farming venture, Project Eats, and will provide free food to gallery visitors, marking a unique initiative for Gagosian. Rick Lowe, founder of Project Row Houses, showcases pieces from his 'Black Wall Street' series, which investigates the economic challenges faced by African Americans. His work draws from the history of prosperous Black communities like Greenwood in Tulsa, Oklahoma, emphasizing the importance of independent Black community building and economic empowerment. The exhibition also includes works by emerging artists such as Alexandria Smith and Christie Neptune, reflecting Sargent's commitment to showcasing artists across different career stages and fostering diverse dialogues within the art world. #AntwaunSargent #SocialWorks #GagosianExhibition #BlackArt #ContemporaryArt #CuratorialPractice #AfricanAmericanArtists #ArtAndActivism #CulturalInclusivity

This article highlights 17 Black-owned home decor brands, emphasizing their unique contributions to the design industry and their commitment to community and heritage. The brands featured offer a diverse range of products, from wall hangings and glassware to furniture and textiles, catering to various aesthetic preferences and price points. Goodee, co-founded by Byron Peart, is presented as a marketplace curating ethically made, artisanal pieces, many from Black creators. Peart notes that the brand aims to provide a platform for skilled yet underrepresented ethical makers globally, addressing existing barriers to entry in design fields. Clare, a direct-to-consumer paint company founded by Nicole Gibbons, simplifies paint shopping with mess-free peel-and-stick swatches and site features designed for creative color selection, appealing to customers who appreciate bold colors. Jungalow, which began as a design blog by Justina Blakeney, has evolved into a lifestyle brand and store offering boho designs and unique artisan pieces. Its product range includes art prints, throw pillows, vases, living room furniture, and tableware, reflecting an eclectic and feel-good aesthetic. Lichen, a Queens-based retailer, provides a curated selection of in-house designs, vintage items, and emerging brands, all chosen to elevate interior spaces. Harlem Candle Company, founded by Teri Johnson, is a luxury home fragrance company inspired by the Harlem Renaissance. Its aromatic soy candles celebrate African American icons and are designed to transport users through time and place. Raini Home, an extension of the Brooklyn concept store Sincerely, Tommy, focuses on statement furniture and decorative accents with a minimalist, sculptural feel, each piece handcrafted in the Brooklyn Navy Yard. Design Dua, founded by Coretta Owusu, produces dried elephant grass bassinettes and dog beds designed in Ghana and handwoven by West African weavers, supporting local craftsmanship. Curves by Sean Brown offers a distinctive and playful line of home goods, including rugs shaped like Black CDs, inflatable chairs, and bedding with unique slogans. Palette Pots, created by Latrice Thompson, offers vibrant planters in a range of colors inspired by Wes Anderson films. Estelle Colored Glass, founded by Stephanie Summerson Hall, features hand-blown pastel stemware and cake stands, with designs influenced by Hall's grandmother and available through major retailers like Anthropologie and West Elm. Linoto, established by Jason Evege, specializes in luxurious linen sheets produced in Westchester County, New York, with the aim of making high-quality linen bedding more accessible in the U.S. Yowie, a Philadelphia-based boutique by Shannon Maldonado, curates unique housewares, kitchen goods, and trinkets from independent artists, emphasizing immaculate vibes. Bolé Road Textiles, founded by interior designer Hana Getachew, offers unique textiles and fabrics, such as towels, pillow covers, and throws, designed in Brooklyn and handwoven in Ethiopia. Soukie Modern, co-founded by Kenya Knight and Taib Lotfi, combines Palm Springs and Marrakech aesthetics, offering vintage rugs and wall art, ensuring unique pieces for the home. Candice Luter creates macramé wall hangings using natural cotton rope, providing abstract designs that add texture to walls, with options for custom pieces. Finally, 54kibo focuses on contemporary African design, sourcing ceramics, decorative pillows, and table linens from designers leading Africa’s creative economy, offering unique items that help homeowners avoid a generic look. BLK MKT Vintage, curated by Jannah Handy and Kiyanna Stewart, offers secondhand items rich in Black history and culture, including historical merchandise and vintage publications. #BlackOwnedBrands #HomeDecor #InteriorDesign #ArtisanalProducts #EthicalSourcing #CulturalHeritage #SustainableDesign #CommunitySupport

This article profiles Chicago-based visual artist Amanda Williams, highlighting her distinctive approach to exploring race, social space, and urban landscapes through the medium of color. Williams, recognized as a future creative leader by architect Frida Escobedo, leverages her architectural training from Cornell University to critically examine how racial dynamics influence the perceived value of spaces. Her work, showcased in prestigious venues like the Venice Architecture Biennale, MoMA, and the Museum of Contemporary Art in Chicago, challenges viewers to reconsider their understanding of built environments. One of Williams' most significant projects, *Color(ed) Theory*, delves into the redefinition of color through the lens of Black culture. This series features eight houses in Chicago’s Englewood neighborhood, all slated for demolition. By painting these neglected structures in specific hues and then photographing them, Williams draws attention to the systemic underinvestment in African American communities. A key aspect of this project is the unique color palette she developed, with each color named after culturally resonant items, places, or spaces within the Black community. Examples include "Pink Oil Moisturizer," referencing a hair product for Black hair, and "Harold’s Chicken Shack," an homage to a popular African American-founded fast-food chain in Chicago. Other colors like "Ultrasheen," "Newport 100s," "Crown Royal Bag," "Flamin’ Hot Cheetos," "Currency Exchange," and "Safe Passage" all carry specific cultural meanings, which Williams notes are immediately understood by members of the African diaspora. This linguistic and cultural nuance highlights the different interpretations and understandings that arise between disparate communities, effectively using color to bridge or highlight these gaps. *Color(ed) Theory* gained significant recognition, being exhibited at MoMA and featured in *The New York Times* as one of the "25 Most Significant Works of Postwar Architecture." Another notable exhibition, *Embodied Sensations*, a solo show at MoMA in spring 2021, explored themes of bodily autonomy and movement within space. Williams conceptualized this exhibition during the global pandemic, drawing parallels between the disorientation and restrictions experienced by the general population during Covid-19 and the everyday physical and social constraints faced by marginalized groups, particularly Black women. The exhibition included a performance piece where visitors engaged with prompts related to movement, further emphasizing the lived experience of navigating restricted spaces. Williams explains that this shared sense of vulnerability during the pandemic allowed her to remind audiences that such limitations are a constant reality for many. Looking ahead, Williams is scheduled to participate in a group exhibition titled *Social Works II* at Gagosian London and will present a standalone booth at Art Basel Miami with Rhona Hoffman Gallery. Her year-long project, *What Black Is This You Say*, which began as an Instagram series during the pandemic, has evolved into watercolors, oil paintings, and public art installations displayed at the Storefront for Art and Architecture in Manhattan. Williams views her work as an opportunity to ask challenging questions about racial inequality and the persistent struggle for existence faced by Black individuals globally. She contends that art, design, and architecture have historically contributed to these spatial injustices, making it imperative to address them through creative practice. Williams expresses optimism about the current moment, believing it to be a crucial period for Black artists and designers to not only be recognized but to thrive. She emphasizes the concept of prosperity, which for her encompasses joy, liberation, and self-determination. This idea is explicitly explored in projects such as *We’re Not Down There, We’re Over Here*, featured in MoMA’s *Reconstructions* exhibition. Through her diverse artistic output—including paintings, installations, and exhibitions—Williams consistently raises critical questions about urban environments, racial undertones, and political issues, asserting that "There is no day when colour isn’t present," underscoring the pervasive nature of these themes in daily life. #AmandaWilliams #ArtAndArchitecture #ColorTheory #SocialJustice #UrbanArt #BlackCulture #ContemporaryArt #RacialEquality

The article explores the aesthetic and symbolic uses of black in contemporary architecture, showcasing various projects that employ the color to convey different meanings such as prominence, invisibility, and spirituality. It draws inspiration from Phaidon’s Black: Architecture in Monochrome, presenting a curated selection of architectural works that exemplify the versatile application of black in modern design. One featured project is the Black Rock house by Mus Architects in Bielsko-Biała, Poland. This family home is designed to mimic natural rock formations, with its exterior cut at multiple angles and sitting on a declining slope. The ground floor connects entrance spaces, including a double garage, to living, kitchen, and dining rooms via a vestibule, while the upstairs private areas offer views to the south and access to a loggia. The building's exterior walls and multi-slanted roof are uniformly finished in fiber-cement Cembrit Quadra tiles, with larch wood panels used for inward-reaching niches to direct sunlight and views indoors. The entrance is recessed, accessed through an arcade opposite the driveway. Another example is the Groundwater Pumping Station by Architekten in Hard, Austria. This cubic structure, with a 450 sq m floor plan, houses technical utilities for water preparation for Bregenz and nearby towns. Its three dark blue enamel-coated metal doors subtly blend with the concrete exterior from a distance but shimmer like water up close. The station's washed-out black concrete exterior contrasts sharply with the nearby late-16th century moated castle, Mittelweiherburg. A public space with a fresh water fountain and concrete seating now connects the two sites. The Stacked Cabin by Johnsen Schmaling Architects in Muscoda, USA, is a woodland retreat designed to recede into its natural surroundings. It uses a material palette of exposed concrete, black cedar, anodized metal, and plaster. The ground floor accommodates facilities like a workshop and storage, while living, dining, kitchen, and bedrooms occupy the upper levels. An elevated study on the third level overlooks the treetops, and yellow curtains can be used for privacy or to separate the kitchen. This project was also featured in Phaidon's Black: Architecture in Monochrome. Casa Bruma by Fernanda Canales in Mexico features a unique design strategy involving a series of small, separate pavilions, laid out physically with wood bits on the ground during planning. The use of low-tech, readily available materials creates a timeless, natural feel. Each building serves a distinct function, such as a garage, utility room, children's sleeping block, and kitchen, with the kitchen connected to the grand dining room by a glass walkway. The design prioritizes privacy, with the kitchen being the only pavilion facing the internal patio, allowing guests to stay independently. Casa Hualle by Ampeuroyutronic in Pucón, Chile, is set amidst open vistas, a lake, and the Villarrica volcano. Its monolithic form and dark-stained softwood skin reference local architecture, traditionally clad in black volcanic rock. Inside, the 230 sq m two-storey space features pale, almost white-stained wood, contrasting the exterior, and smooth, exposed concrete floors. A central double-height volume hosts the kitchen, dining, and living areas on the ground level, flanked by guest bedrooms. The master bedroom and bathroom are upstairs, accessed by a staircase that also functions as a library and studio, with a gallery overlooking the main living spaces. The Kalmar Museum of Art by Tham & Videgård Arkitekter in Kalmar, Sweden, is a rectangular building clad in black-stained plywood panels of varying sizes, installed like large shingles to reference traditional Swedish vernacular architecture. Its four floors of exhibition space lead to a top-floor gallery, all designed as "platforms for art." Open, angular staircases and a dramatic skylight illuminate the cast concrete-lined interiors. This museum was also highlighted in Phaidon's Black: Architecture in Monochrome. D House in Shibuya-ku, Tokyo, Japan, designed by Ron Arad with local firm Issho, is a new-build spanning 180 sq m over three levels. Its narrow profile is enhanced by an expressive façade of patinated steel ribbons, fabricated locally, which add dynamism and create a play of light and shadow on the concrete frame. The steel ribbons contribute to a strong sense of movement in the house. Creek House by Faulkner Architects in Truckee, USA, is a family retreat designed for an AIDS researcher. Immersed in nature, it promotes restorative calm, with raw materials exposed and the home cantilevering over boulders. Patios and a pebble-lined pool encourage outdoor living. The interior features layered, modular spaces connecting large private areas with smaller communal ones, prioritizing privacy. Circulation allows movement from darker, quieter spaces to lighter, exposed areas with floor-to-ceiling glazing, offering views of evergreen trees and rocky landscapes. Materials include steel, rift-sawn oak, bluestone, and white gypsum. Hasseris House by Lars Gitz Architects in Aalborg, Denmark, deviates from the architect's usual style, featuring a low, elegant brick composition with large glass expanses and crafted openings that frame the client's cars. The interior is a blend of minimalism and hygge, with smooth Dinesen Oak flooring adding warmth. The client, a design and travel enthusiast, decorated the interiors, drawing inspiration from hotels and restaurants. Kengo Kuma's Folk Art Museum in Hangzhou, China, is situated in a landscape of rolling hills and lakes, part of the China Academy of Arts. The buildings, no more than two storeys high, integrate with the rural setting, using a cascading roof system to mitigate site irregularities, creating a "village" appearance. Kuma utilized local materials like cedar and reclaimed roof tiles, with a stainless steel wire mesh facade holding the tiles and filtering light and views. Meg House by Olson Kundig in Seattle, USA, incorporates glass, an industrial feel, and a large retractable window. On a steeply sloped site, it offers 180-degree views of the residential landscape and city. The design is respectful of its surroundings, set back from the street with a leafy front garden. Inside, exposed industrial details include unfinished steel beams and plywood casework. The 6,050 sq ft home has three levels: private areas below, open-plan living on the main level, and the master suite on top, balancing transparency, refuge, modernity, and warmth. Todd Saunders' Family Home in Tveiterås Garden City, Bergen, Norway, is a 'symphony in Norwegian wood,' composed of three wood-clad elements. A vertical stack for stairs is bisected by a horizontal beam housing the kitchen, with a utility area supporting one end. The raised level serves as a carport, and a covered walkway leads to the front door. The ground floor includes a porch, utility area, and playroom, while the main space features a 35m-long living area, Dinesen floorboards, and a 9m kitchen counter. Rooms are modest, with a master suite, two daughters' bedrooms, and a living room, complemented by terraces for morning or evening use. Black Desert House by Oller & Pejic in Yucca Valley, USA, was designed as a "shadow" from urban stress and desert sun. Deep insulation cavities and sprayed foam insulation combat heat despite the black concrete exterior. Rooms are linearly arranged on a single level, with the kitchen and dining rooms central to radiating bedrooms. The living room, built into a sloping site, offers landscape views. A central courtyard provides protection from sun and climate, and at night, the house blends into the darkness. This project is also featured in Phaidon's Black: Architecture in Monochrome. Kiritoshi House by Sugawaradaisuke in Chiba prefecture, Japan, features a simple black box exterior that blends with its surroundings. An asymmetric tunnel opens into a light-filled open-plan space with a wood-paneled floor and mirrored ceilings, designed for a family of four. Mirror Houses by Peter Pichler Architecture in Bolzano, Italy, are two luxury holiday rental units on an apple farm. Each unit contains a kitchen/living room, a bath, and a bedroom with skylights. A basement provides temporary storage. A glass facade on the east transitions into the black aluminum shell. The reverse of each house is mirrored glass, reflecting the pastoral landscape. The mirrored glass has a UV coating to protect birdlife. Farshid Moussavi’s Museum of Contemporary Art Cleveland, USA, took six years to build. The 34,000 sq ft space spans four stories, culminating in a top-floor gallery. Set on a hexagonal base, it has six faceted sides: five clad in black stainless steel and one tall glass triangle, echoing the triangular site and leading to a public plaza. Hotel Bühelwirt in Ahrntal, Italy, received a 5,300 sq m extension by Pedevilla. The new six-story structure, located at the north of the plot, includes 20 new rooms, a wellness facility, and a restaurant, preserving the original hotel’s relationship with sunlight and the natural landscape. #Architecture #BlackArchitecture #ContemporaryDesign #ArchitecturalStyles #ResidentialArchitecture #PublicBuildings #SustainableDesign #MaterialInnovation

This article highlights the contributions of nine influential Black designers and architects, celebrating their work and perspectives on diversity within the design industry during Black History Month. The featured professionals showcase a range of expertise, from interior design and product design to architecture and textiles, often drawing inspiration from their diverse cultural backgrounds. Kesha Franklin, CEO and Lead Designer of Halden Interiors, brings a fashion-forward approach to residential and hospitality spaces, emphasizing thoughtful color and fabric choices. She points out a disparity between the diverse nature of design itself and the lack of diverse representation among practitioners, advocating for a broader inclusion of faces that create beauty in design. Jeanine Hays and Bryan Mason, the husband-and-wife team behind AphroChic, have built a multifaceted design firm focused on celebrating African-American culture, creativity, and global design. They initiated AphroChic in response to the underrepresentation of African-American voices in the design industry, striving to create spaces and products that narrate unique cultural stories. Stephen Burks, founder of Stephen Burks Man Made, integrates traditional African craftsmanship with contemporary aesthetics in his industrial design work, spanning furniture, lighting, and home accessories. His studio prioritizes hand production as an innovation strategy and actively promotes inclusivity and cultural perspectives in a luxury market often focused on exclusivity. Veronica Solomon, owner and lead designer of Casa Vilora Interiors, infuses her Jamaican heritage into eclectic, bold, and timeless spaces, characterized by a masterful use of color, pattern, and texture. She views a home as a narrative of its inhabitants and actively mentors junior designers to foster future generations of Black talent. Samantha Josaphat, founder of Studio 397 Architecture, established her firm as the 397th Black female architect to achieve licensure in the U.S. She is committed to increasing minority representation in architecture, actively leading the National Organization of Minority Architects’ New York chapter and teaching at an architectural school. Ishka Designs, founded by Anishka Clarke and Niya Bascom, is a Brooklyn-based interior design firm that specializes in hospitality and residential projects, emphasizing an "efficiently beautiful" concept that combines minimalistic design with natural materials, informed by their Caribbean roots. Hana Getachew, founder and creative director of Bolé Road Textiles, blends ancient Ethiopian weaving traditions with modern design aesthetics, producing a range of home textiles while also supporting education for girls in Ethiopia. Eneia White, owner of Eneia White Interiors, leverages her diverse experience across major U.S. cities to create personalized and comforting residential spaces, aiming to translate clients' personalities into their homes. Lastly, Dani Arps, founder of Dani Arps LLC, is a prominent interior designer in the NYC tech scene, known for her eclectic and industrial commercial interiors. She observes a growing recognition for Black and brown designers, attributing this positive shift partly to social media and supportive networks. #BlackDesigners #Architecture #InteriorDesign #BlackHistoryMonth #DiversityInDesign #CulturalHeritage #DesignPhilosophy #TextileDesign #HomeDecor

Cortney and Bob Novogratz, a design duo with seven children, have spent 25 years transforming the American interior design landscape. Their approach is characterized by a colorful, contemporary, and uplifting style, applied to over 70 residential and commercial projects. The couple's success stems from their ability to understand what makes a space inviting and livable. Their journey began two decades ago when they invested in and renovated a dilapidated townhouse in Chelsea, New York City. This initial project, which they found both enjoyable and successful, led them to acquire and develop two more properties in SoHo. This positive experience prompted Bob to leave his real estate career to pursue design full-time. A notable project, Centre Market, involved reworking an entire street. They successfully predicted the area's potential for growth, transforming old, rundown gun stores into desirable properties. They emphasize that the worse the initial condition, the better, as it deters most people, and extensive renovations are often necessary regardless of the starting state. The Novogratz's distinctive aesthetic, known as "the Novogratz look," is an eclectic blend of modern, clean lines, vintage elements, vibrant color accents, and prominent art pieces. They advocate for using color freely, particularly in bedrooms, which are separate spaces where bolder choices can be made. Feature walls behind beds, with a strong pop of color, are a common technique. They also sometimes opt for white walls, allowing furniture and art to introduce color. When it comes to brand partnerships, they frequently collaborate with CB2 (Crate&Barrel; 2), for whom they design. Other preferred brands include Kartell, The Rug Company, and ABC Carpet & Home, all chosen for their modern aesthetic and innovative designs. For those embarking on a renovation, their advice is to start with a fresh, neutral canvas, such as white walls. They suggest finding one standout piece, whether vintage or new, to serve as a focal point. They encourage an iterative design process, emphasizing that the space doesn't need to be perfect immediately and will evolve over time. They also recommend prioritizing investments in essential areas like the kitchen and bathroom. Their creativity is fueled by their children, who keep them connected to contemporary culture, and by seeking inspiration from diverse sources in major cities worldwide. Their design process prioritizes uniqueness, aiming to create distinct, interesting, and creative spaces for every hotel or home project. They believe in avoiding a standardized look. The most rewarding aspect of their work is the tangible outcome, starting with a vision and culminating in a completed project. They acknowledge that outcomes vary but strive for genius, achieving good results most of the time. They are known for frequently refreshing their own homes, with Cortney reportedly revamping elements every 90 days, especially during spring, to keep their spaces updated and vibrant. #InteriorDesign #HomeRenovation #ColorTheory #EclecticStyle #DesignProcess #Novogratz #ModernDesign

In recent years, consumer shopping habits have evolved to be more thoughtful and purpose-driven, extending beyond considerations like eco-friendliness and low-waste living to actively diversifying support for various brands. Target has significantly streamlined this process by introducing a distinctive badge system to identify Black-owned or Black-founded businesses. Launched in 2020, this badge features a brown circle containing five skin-toned hearts, and it is typically found within the “At a Glance” section of product listings, alongside other identifiers such as clean-certified, cruelty-free, or vegan status. Target's definition of a Black-owned or -founded brand specifies that the U.S.-based enterprise must be at least 51 percent Black-owned, operated, and controlled. This initiative simplifies the search for consumers aiming to support these businesses across various departments, including bath, beauty, and food products. The article highlights several such brands available at Target, encouraging consumers to explore and support them, especially during occasions like Juneteenth in June and Black Business Month in August. Among the featured Black-owned brands is Jungalow by Justina Blakeney, known for its vibrant bohemian home decor, characterized by colorful patterns and plant motifs inspired by global travels. An example product from this brand is the Soleil Shower Curtain Black/Ivory. Another highlighted brand is Be Rooted, a Black-owned and woman-owned enterprise that offers products designed to empower women of color through creative expression, such as their 20oz Lidded Beachside Tumblers with Lid and Straw. Alaffia, based in Washington, is recognized for its award-winning clean skin and hair care products, made with fair-trade ingredients that also support community empowerment projects in West Africa, exemplified by their Baby & Kids Shampoo & Body Wash. Capital City, a brand originating from Washington D.C., offers versatile sauces like their Sweet Hot Mambo Sauce, which can be used on various foods. The Honey Pot is a plant-based feminine care company providing organic washes, wipes, and pads, with their Herbal Menstrual Pads being a notable product. BLK & Bold, founded in 2018, is a coffee company that dedicates 5 percent of its profits to youth programming, workforce development, and combating youth homelessness; their Smoove Operator Blend, Dark Roast Ground Coffee is featured. Lastly, SoapSox offers adorable, antimicrobial, and fast-drying plush bath toys for children, such as the Sponge Miles Elephant Wash Mitt, while Surprise Powerz, a Black and woman-owned educational brand, introduces children to coding through interactive toys like the Codie the Coder Educational Talking STEM Doll. #BlackOwnedBrands #TargetShopping #SupportLocal #JungalowDecor #EthicalShopping #ConsumerConsciousness #HomeGoods