karim+elias' sculptural desert drop table evokes the image of droplets in the sand

The Dune Collection is a series of distinctive and refined lighting fixtures that draw inspiration from the striking formations found in desert landscapes. Rollo Bryant's design philosophy underpins this collection, emphasizing the integration of traditional craftsmanship with digital era advancements, particularly in materials and lighting technology. Each lamp is intricately manufactured using advanced 3D printing technology and incorporates meticulously selected quartz sand, which contributes to both the aesthetic and functional aspects of the design. The choice of quartz sand enables remarkable precision in the lamps' construction and results in a smooth external texture that visually echoes organic desert formations. A key characteristic of the Dune Collection is the unique luminous output generated by the sand element. As light passes through the sandy material, it diffuses to create an atmospheric crimson radiance. This effect is specifically designed to evoke the soft, subdued glow of twilight in a desert environment, adding a distinct ambiance to any contemporary interior. The lamps are conceived to serve a dual purpose: they function as practical lighting solutions while also acting as decorative elements that enhance the visual appeal of modern living spaces. The small design studio behind the Dune Collection demonstrates a strong commitment to innovative design and an unwavering focus on intricate details. Every component within the collection reflects the studio's dedication to pushing the boundaries of lighting design. The organic composition and graceful designs of these lamps make them a suitable addition to contemporary settings, symbolizing the delicate beauty found in natural landscapes within modern society. Future expansions of the continuous collection are planned to include a variety of lighting solutions, such as wall-mounted and hanging lamps, offering a diverse range of options for consumers. Despite their seemingly fragile appearance, the artifacts boast remarkable durability, primarily due to their composition of 98% Bavarian quartz sand. Following the 3D printing process, a natural resin binder is applied to enhance the material's structural integrity. This binder is chosen specifically to maintain the original color and texture of the sand, preserving the intended aesthetic. The development and physical realization of these sculptures, despite employing cutting-edge production technologies, presented several challenges. Until recently, achieving such intricate geometries on a large scale using aggregate materials was considered extremely difficult. However, the studio has overcome these hurdles, demonstrating the potential of advanced manufacturing techniques. Beyond aesthetics and innovation, the studio prioritizes environmental sustainability in its production processes. The design philosophy incorporates a strong regard for generating a positive environmental impact, which is achieved through the utilization of sustainable resources and production methods. The adoption of 3D printing technology for fabricating these lighting fixtures plays a crucial role in this commitment. This technology allows for optimized material usage, thereby reducing waste and minimizing the overall environmental footprint. Any surplus materials from the printing process are recycled, further contributing to sustainable practices. Additionally, 3D printing enables a heightened degree of accuracy and complexity that would be unattainable through conventional manufacturing techniques. The studio also takes pride in using sand, a readily available and sustainable resource, in the creation of the Dune Collection. By leveraging the inherent aesthetic appeal of natural sand formations, the studio aims to produce visually captivating lighting installations that honor the planet and the distinctive splendor of the natural world. #3DPrintedLightingFixtures #3DPrinting #DesertLandscapes #DuneCollection #RolloBryant #SustainableDesign #InteriorDesign #ProductDesign #ArchitecturalLighting

Lebanese designer Charles Kalpakian has introduced 'Rocky,' a credenza distinguished by its sharp, angular, and sculptural aesthetics. This design represents a three-dimensional interpretation of a traditional pattern frequently employed by cabinet makers, integrating optical illusions to manipulate perceptions of space and volume. The credenza's appearance dynamically shifts depending on the viewer's perspective, offering a constantly evolving visual experience. Crafted from steel, the 'Rocky' credenza features a subtly textured coating available in three distinct color options: black, blue, and aluminum grey. Each color choice enhances the credenza's angular forms, allowing the play of light and shadow to further define its sculptural quality. The steel construction ensures durability and a contemporary industrial aesthetic, while the textured finish adds a tactile dimension to the visual depth created by the optical illusions. Kalpakian’s design process for 'Rocky' involved extensive experimentation, including the use of 3D printed prototypes. These prototypes were instrumental in refining the precise angles and lines necessary to achieve the desired optical effects, ensuring that the credenza’s structure effectively tricks the eye into perceiving varying depths and forms. This meticulous approach highlights the designer's commitment to both innovative aesthetics and precise execution. The functionality of 'Rocky' is also carefully considered. The shelving units are designed to accommodate oversized books, reflecting a practical application for its unique structure. This feature ensures that the credenza is not merely a sculptural art piece but also a functional furniture item, capable of serving its primary purpose effectively while simultaneously acting as a striking design element within any interior space. 'Rocky' forms part of Charles Kalpakian's broader Middle Eastern furniture collection, which often explores the intersection of traditional craftsmanship with modern design principles and technological advancements. This collection frequently showcases his ability to infuse contemporary pieces with cultural resonance while pushing the boundaries of material and form. The credenza exemplifies his signature style, characterized by a blend of artistic vision and practical design. The piece challenges conventional perceptions of furniture by transforming static objects into dynamic visual experiences through the strategic application of geometric principles and optical play. Its versatile color options and robust construction ensure its suitability for a variety of interior design schemes, from minimalist to more eclectic environments. #CharlesKalpakian #RockyShelves #OpticalIllusions #FurnitureDesign #Credenza #SteelFurniture #SculpturalDesign #ContemporaryDesign #InteriorDesign

This blog post focuses on the versatile use of decorative stones and gravel for various outdoor projects, ranging from driveway overhauls to garden enhancements. It highlights the suitability of these materials for diverse applications, such as creating driveways, footpaths, and defining borders and beds within a garden. The article emphasizes that a wide selection of aggregates, decorative gravel, and garden pebbles is available to accommodate different budgets and project sizes. The content elaborates on how garden pebbles and cobblestones can be used to transform garden aesthetics, suggesting their application to add decorative contrast around water features, ponds, and plants. These pebbles and stones are offered in a variety of colors to match different style preferences. For specific gardening needs, horticultural grit, a coarse material made from small rocks or crushed stones, is introduced as an ideal choice for improving soil drainage, preventing compaction, and providing a stable base for plants in containers or raised beds. For driveways and walkways, decorative gravel is presented as a cost-effective alternative to block paving. The article recommends using sleepers or lawn edging to contain the gravel and driveway stones effectively. Additionally, stone and slate chippings are proposed as an alternative to traditional gravel, offering flatter textures suitable for finishing potted plants and borders. These chippings are noted for their stylish appearance and practical benefits, including helping to suppress and control weed growth, especially when combined with landscaping fabric. The ease of laying and minimal maintenance required for these outdoor stones are also highlighted, presenting them as a hassle-free option compared to materials that demand more upkeep, such as natural grass or certain paving slabs. The post also addresses frequently asked questions, providing practical advice on how to gravel a garden. This involves preparing the area by removing existing vegetation, leveling the soil, laying landscaping fabric to prevent weeds, and then evenly spreading the gravel. It clarifies the composition and purpose of horticultural grit in gardening. Finally, it discusses factors to consider when choosing the best stone for a garden, emphasizing that while all stocked garden stones are natural and suitable for outdoor use, the ultimate choice depends on personal aesthetic preferences and the intended functional use in the garden. #DecorativeStones #GardenGravel #LandscapeDesign #DrivewayIdeas #GardenPebbles #HorticulturalGrit #WeedControl #OutdoorDecor #HomeImprovement

SolidNature, a Dutch stone supplier known for collaborating with architects and designers on custom projects, frequently accumulates offcuts from its high-profile commissions. Recognizing the potential in these leftover materials, the company engaged Budde, a design studio based in Cologne, Germany, to explore innovative ways to repurpose them. This collaboration resulted in the creation of 'Five x Seven,' a limited-edition furniture collection comprising five distinct tables: a console, and various coffee and side tables. The Budde studio, led by founders Johannes Budde and Meike Papenfuss, developed a concept that showcases the inherent beauty and variety of natural stone. The collection utilizes seven different types of stone, including marble, onyx, granite, and travertine, sourced from SolidNature's inventory of offcuts. Each table is meticulously crafted by combining slabs of these diverse stones, which are then layered together to create a visual effect reminiscent of sedimentary rock formations. A distinctive design element of the collection is a slim, carved arch integrated into all four sides of each piece. The layered construction of the tables results in muted stripes of cream, pink, green, and gray, offering a dynamic aesthetic that changes depending on the viewing angle. This design approach not only highlights the unique characteristics and rich color palette of each stone type but also addresses the issue of material waste by transforming what would otherwise be discarded into valuable and aesthetically pleasing furniture. The 'Five x Seven' collection is presented as a limited edition, emphasizing its exclusivity and artisanal nature. However, SolidNature also offers the possibility of custom pieces, allowing clients to commission tables tailored to their specific preferences and design needs, further expanding the collection's adaptability and appeal. The collection is exclusively available through the Rossana Orlandi Gallery, a renowned platform for contemporary design that champions innovative and sustainable practices. The partnership with Rossana Orlandi underscores the collection's artistic merit and its place within the high-end design market. By transforming remnants into sophisticated furniture, the 'Five x Seven' collection demonstrates a commitment to sustainable design principles while celebrating the enduring appeal and versatility of natural stone. #furnitureDesign #naturalStone #SolidNature #BuddeStudio #tableCollection #sustainableDesign #RossanaOrlandiGallery #interiorDecor #materialInnovation

Dutch artist Suzan Drummen is renowned for her expansive and intricate art installations that feature thousands of glittering crystals and other reflective elements. These installations, often forming elaborate textile and mandala-like designs, are a testament to Drummen's spontaneous and site-specific artistic process. She does not pre-plan her designs but rather allows the unique characteristics of each location to guide her creative decisions. Factors such as the available light, the anticipated movement of visitors, existing color palettes, and the height of the space all contribute to the evolving nature of her artwork. Each installation, therefore, is distinct and slowly takes shape in response to its environment. Drummen's primary objective with her art is to create an overwhelming visual experience for the observer. From a distance, her installations present as clear and organized patterns. However, upon closer inspection, the sheer volume of details and visual stimuli can disorient the viewer. This dynamic interplay between order and chaos, between the ability to grasp the entirety of the artwork and being overwhelmed by its intricacies, is a central theme in her work. Through this intentional challenge to visual perception, Drummen aims to intensify and requisition the viewer's sensory experience. Her chosen materials include a diverse array of shiny objects such as pins for affixing crystals, chrome-plated metal, various precious stones, mirrors, and optical glass. While some of these materials are used to adorn walls, a significant portion is laid freely on the ground, allowing for fluid, unconstrained patterns. This method of arrangement contributes to the organic development of her designs. The kaleidoscopic effect achieved through the interplay of light and these numerous reflective surfaces is a hallmark of her artistic style. Drummen's work draws viewers into a vibrant world of color and sparkle, where the traditional boundaries of art are expanded to encompass entire spaces. Her installations transform ordinary floors, walls, and even people into canvases for her dazzling geometric patterns. This approach blurs the line between art and environment, inviting viewers to not just observe but also to immerse themselves in the dazzling visual landscapes she meticulously constructs. #SuzanDrummen #MandalaArt #CrystalArt #InstallationArt #KaleidoscopicDesigns #SiteSpecificArt #GemstoneArt #VisualPerception #DutchArtist

The article showcases the work of Jared Abner, a 2021 Furniture Design graduate from RIT, focusing on his distinctive approach to creating furniture and sculptures. Abner's artistic philosophy is characterized by a unique combination of subtraction and addition, a process he describes as "creation through destruction." He begins by engaging in subtractive methods, such as turning, carving, and cutting raw materials, and then reassembles these modified pieces to form new creations. This methodology highlights a dynamic interplay between deconstruction and reconstruction in his design process. One prominent piece featured is a walnut and fiber rush bench from 2020. This work exemplifies his ability to blend traditional woodworking materials with contemporary design principles, resulting in a functional yet artistic piece of furniture. Another significant creation is an abstractly shaped chair crafted from stack-laminated cherry wood, also from 2020. This chair demonstrates his innovative use of lamination techniques to achieve complex forms and textures, transforming solid wood into a visually fluid structure. The intricate layering of cherry wood not only adds to the aesthetic appeal but also speaks to the meticulous craftsmanship involved in its construction. The article also presents a series of "Suspension Study" sculptures, which further illustrate Abner’s exploration of form, balance, and material interaction. "Suspension Study One" features a wood sculpture connected to a large blue ball, utilizing walnut, poplar, and milk paint from 2020. This piece suggests an investigation into equilibrium and the tension between different elements. "Suspension Study Two," from the same year, continues this theme with a wood sculpture incorporating a rope to hold a blue ball, again using walnut, poplar, and milk paint, alongside the addition of rope. The inclusion of rope introduces an element of flexibility and dynamic force, contrasting with the rigidity of wood. Finally, "Suspension Study Three," created in 2020, consists of a black sculpture where two large wood pieces sandwich a blue ball, made from ash, poplar, and milk paint. This piece explores containment and compression, with the blue ball acting as a focal point that is simultaneously supported and constrained by the wooden components. Collectively, these works underscore Abner’s versatility in transforming raw materials into pieces that challenge conventional notions of furniture and sculpture, emphasizing both aesthetic innovation and a thoughtful engagement with the physical properties of his chosen media. His portfolio reflects a deep understanding of material manipulation and an artistic vision that merges functionality with sculptural expression. #FurnitureDesign #Sculpture #JaredAbner #RITAlumni #Woodworking #MaterialManipulation #ArtisticProcess

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

This article features an interview with Daniel Arsham, a Miami-raised, New York-based artist known for his large-scale installations that manipulate perceptions of space and architecture. Arsham's artistic journey began at Cooper Union, where he met architect Alex Mustonen, leading to the formation of Snarkitecture in 2008. Snarkitecture is a collaborative practice that blends art and architecture, recognized for its inflated scale and monochrome aesthetics, with projects including KITH boutiques and flagship stores for brands like Valextra and COS. Alongside Snarkitecture, Arsham maintains an individual art practice focused on structural experiments, often featuring crumbling walls and decaying cultural artifacts, challenging conventional architectural norms. Arsham's 2018 solo exhibition, “3018,” at Galerie Perrotin in New York, showcased pop culture icons, such as the Delorean from *Back to the Future* and the Ferrari from *Ferris Bueller’s Day Off*, rendered in materials like crystal, volcanic ash, pyrite crystal, selenite, and quartz, appearing where mechanical components would typically be. These works illustrate his exploration of a dystopian future where contemporary culture undergoes erosion. The year 2018 was particularly eventful for Arsham, encompassing “3018,” Snarkitecture’s retrospective “Fun House” at the National Building Museum, the release of Snarkitecture’s monograph, his own upcoming book through Rizzoli, and an exclusive sneaker design for Adidas. In the interview, Arsham discusses how his upbringing in Miami, a city built on a swamp with a fabricated sense of fantasy, influenced his artistic sensibilities. He elaborates on his fictional archaeological works, which involve degrading contemporary objects to appear ancient, emphasizing the importance of materials in conveying his concepts, such as using crystal to suggest a geological timeframe. Arsham reflects on 2018 as a year of introspection, with his Rizzoli book covering two decades of his work, tracing back to his thesis exhibition at Cooper Union, where he first used architecture as a medium for manipulation to create unsettling, uncanny spaces. He identifies stage design, particularly his work with choreographer Merce Cunningham, as one of his most exciting and challenging commissions. This experience, despite his lack of formal training in dance or theater, profoundly impacted his practice by teaching him to translate sculptural methods to a stage environment with fixed audiences and crucial lighting. The discussion also delves into the origins of Snarkitecture, which arose from Arsham's need for architectural expertise to execute larger-scale public art pieces, leading to a partnership with Alex Mustonen. Their collaboration thrives on the interplay between Arsham's chaotic, experimental artistic approach and Mustonen's ordered, precise architectural background, embodying an ethos that balances precision with chaos. Arsham shares a key business lesson: recognizing failure as a vital tool for learning and avoiding repetition. He cites Hurricane Andrew's devastation of his Miami home 24 years prior as a pivotal experience that shaped his understanding of architecture in flux, decay, and rebuilding, significantly influencing both his personal art and Snarkitecture's work. Ultimately, Arsham finds the best aspect of his profession to be the freedom inherent in not having a conventional "job." #DanielArsham #Snarkitecture #ArtAndArchitecture #ContemporaryArt #Sculpture #ArchitecturalInstallation #Exhibition #Materiality #DesignProcess #CollaborativePractice

The online tile retailer clé has unveiled its new Artist Cement Collection, a series of handmade encaustic cement tiles. This collection is a collaborative effort, featuring designs from eleven artist studios spanning Europe, South America, and the United States. The curated group of artists, architects, designers, and sculptors includes ALT for Living, Boris Aldridge, Coletivo Muda, Deborah Osburn, Erica Tanov, Gachot Studios, John Whitmarsh, Michelle Weinberg, Ruan Hoffmann, Sarah & Ruby, and Smink Things. The Artist Cement Collection showcases a diverse range of aesthetic styles, moving from bold, graphic geometric patterns to motifs inspired by nature, and even incorporating typography. Each tile is available in 8-inch by 8-inch square and hexagonal formats, offering flexibility in design application. A key feature of these tiles is their pre-polished and pre-sealed finish, which enhances their durability and versatility. This treatment makes them suitable for a wide array of applications, both indoors and outdoors, and for installation on either walls or floors, expanding their potential use in various architectural and interior design projects. Among the featured designs, Coletivo Muda contributes the 'Lagoa' tile, which appears multiple times in the illustrations, highlighting its distinct appeal. Michelle Weinberg's contributions include 'Pattern 1' and 'Pattern 2,' demonstrating a varied artistic approach. Smink Things presents several designs that bear its studio name, indicating a unique and recognizable style. Ruan Hoffmann offers a selection of patterns, including 'Amsterdam Express,' 'Arrow Dynamic,' and 'Bio Circuit,' each bringing a different visual narrative to the collection. Deborah Osburn's 'Manuscript Letters' introduces a textual element, adding another dimension to the tile offerings. Boris Aldridge provides 'Pattern 4' and 'Pattern 5,' showcasing his design philosophy. Gachot Studios also features 'Pattern 4,' suggesting a potentially different interpretation or variation from Aldridge's similarly named pattern. Erica Tanov presents 'Baccio' and 'Jacobson,' contributing unique artistic expressions. Finally, Sarah and Ruby's 'Pattern 5' completes the selection of artists and their designs, ensuring a rich and diverse collection for consumers and designers. The collection emphasizes both artistic expression and practical application. The use of cement as a medium for these artistic designs provides a tactile and durable surface, while the handcrafted nature of the tiles ensures uniqueness in each piece. The curated selection of artists from various global locations brings a wide spectrum of cultural and artistic influences to the collection, allowing for a broad appeal across different design preferences and styles. The collection aims to provide distinctive and high-quality options for residential and commercial spaces, allowing for personalization and artistic flair in surface design. #CementTiles #ArtistDesigned #EncausticTiles #HomeDecor #InteriorDesign #TileCollection #ArchitecturalSurfaces #HandmadeTiles #GlobalArtists

The article presents an interview with Tom Pergola, an artist known for his "Assemblage Plastique" art form. Pergola discusses his journey into the art world, which began in 1978 with Martin Lawrence Limited Editions as an artwork shipper. He quickly advanced to curator and general manager, gaining extensive knowledge of the business aspects of fine art. After eight years, he transitioned to managing artists and producing videos of prominent artists, contributing to millions in art sales globally. Pergola later co-founded DATZ ART with a friend, focusing on art created with resins. Their work gained national recognition through fine art trade shows and exhibitions in prestigious galleries, including Caesars Palace Las Vegas and Rodeo Drive in Beverly Hills, California. His unique 3-dimensional wall and table sculptures, which immortalize everyday objects and popular culture icons, are highlighted as a continuation of the Pop Art tradition established by artists like Andy Warhol and Claes Oldenberg. He was invited by the Los Angeles County Museum of Art to participate in their "Appetite for Art" exhibition, where his works were also sold. Pergola's "Pop Art Sculptures" have been purchased by thousands, and his work has been displayed in galleries across the United States. Notable celebrity collectors include Jay Leno and Carol Burnett. His art has been featured in various cities, including New York, Los Angeles, and Las Vegas. Pergola has received commissions for hundreds of limited-edition pop art sculptures from major brands such as Kellogg's (Fruit Loops and Frosted Flakes) and Corona Beer. He also undertakes custom commission work for private clients. Beyond commercial endeavors, Pergola has contributed his sculptures to charity events for organizations like Make-A-Wish and Stop Cancer, helping to raise funds for their causes. His artwork has also been showcased at major golf tournaments, with full-page announcements in high-end golf magazines featuring his pieces like "Hole In One" and "It Takes A Lot Of Balls." Pergola's primary mission in his creative journey is to create large-scale installations of his images, aiming for pieces 20 to 50 feet tall to be displayed in front of corporate headquarters and in museums. He expresses that the most rewarding aspect of his creative work is bringing smiles to people's faces through his art. #TomPergola #AssemblagePlastique #PopArt #FineArt #ArtistInterview #ArtBusiness #Sculpture #CreativeJourney #ArtExhibitions

The Portuguese artist Alexandre Farto, known as Vhils, has unveiled a new site-specific installation titled "Doors of Cairo" set against the backdrop of the Pyramids of Giza. This work features a collection of his signature etched portraits on 65 repurposed doors, exploring themes of intimacy, memory, and the transient nature of human imprints on the world. The installation draws a poignant contrast between the eternal monuments of the ancient Egyptian kings and gods and the temporary nature of his artwork, made from salvaged wood and intended to disappear after its exhibition period. Vhils emphasizes that both endeavors stem from the same fundamental human impulse to build, remember, and leave a trace. "Doors of Cairo" is part of the fifth *Forever Is Now* project, an ongoing exhibition curated by Art D’Égypte with the support of UNESCO. Vhils is the first Portuguese artist to be invited to participate in this prestigious initiative. The 65 doors used in the installation were sourced from demolition sites and renovation projects in both Portugal and Egypt, physically connecting the artist's homeland to the historic site. Each door carries visible traces of its former life, such as chipped paint, scuffed surfaces, and faint fingerprints, which contribute to the layered narrative of the artwork. The etched portraits depicted on the doors are not of specific individuals but serve as symbolic representations of people across time and communities. Vhils explains that a single face can embody an individual, a community, a generation, or a shared emotional landscape, highlighting the inseparable connection between people and places. He further elaborates that memory becomes embedded in matter, and identity is constructed from numerous invisible layers, echoing the historical weight carried by the ancient pyramids. The creation process involved six months of carving in Vhils' studio, including the development of a smaller, sculptural version that will outlast the outdoor installation. On-site, Vhils spent three days shaping and reshaping the composition of the doors, allowing the installation to evolve intuitively, guided by the scale, texture, and rhythm of the individual pieces. This organic approach underscores the dialogue between the everyday objects and the eternal monuments. Vhils describes the project as a conversation between the ordinary wooden doors of everyday lives and the enduring stone pyramids that have witnessed countless civilizations. This juxtaposition serves as a reminder that even temporary creations can hold significant historical and emotional weight. "Doors of Cairo" is on display through December 7, offering visitors a unique perspective on human endeavor and legacy amidst one of the world's most ancient wonders. The installation encourages contemplation on how humanity marks its existence and the varying scales and durations of these imprints. #Vhils #PublicArt #InstallationArt #EtchedPortraits #GizaPyramids #EgyptArt #SiteSpecificArt #ArtDÉgypte #CulturalHeritage

Dwell and Concrete Collaborative have launched a new multipurpose line of handcrafted tiles, the Strands Collection, drawing inspiration from California surf culture and shared design ideals. The partnership brings together two women-founded companies, leveraging Concrete Collaborative's extensive knowledge in concrete and Dwell's design focus. These tiles, designed by architect Chris Deam, are characterized by bold midcentury colors and are created using an encaustic process, where pigmented clay is inlaid into each concrete tile rather than glazed on top. This traditional method ensures a durable finish suitable for various applications, including bathroom floors, kitchen backsplashes, and courtyards. The collaboration builds on Concrete Collaborative's existing Strands Collection and reflects their strategy of partnering with the architecture and design community to foster innovative designs. Kate Balsis, a founding partner at Concrete Collaborative, highlighted the synergy between the two companies and the shared goal of inspiring customers. The manufacturing process involves creating tiles in small batches, where the color is an integral part of the form, fused under high pressure from a cement mixture pressed into metal molds. This results in a product specifically engineered for use in wet areas and high-traffic spaces, possessing an organic, handmade feel while offering a long-wearing, commercial-grade finish. The concrete solution features a high-density, low-porosity formula for sophistication and durability, suitable for both indoor and outdoor use. Architect Chris Deam, husband of Dwell founder Lara Deam, conceived the tile designs. His inspiration stemmed from a long-standing fascination with pattern-making, particularly the repeating designs of William Morris, and his recent immersion in surfboard design during the COVID-19 lockdown. Deam, an avid surfer, translated various surfboard tail shapes into tile designs after studying how different boards affect the experience of riding a wave. He emphasizes that his approach to tile design considers not only visual presentation but also how the geometry of repeating structures relates to the surrounding architecture. The collection features five distinct styles, which can be purchased individually or as a mixed box for diverse combinations. These styles include the Squash, Swallow, Pin, Wave, and Stringer designs. The Squash, Swallow, and Pin designs offer numerous possibilities for mixing and matching, available in five standard colors: ochre, navy, olive, taupe, and a cool blue. The Wave tile boasts clean lines and a distinctive pinstripe detail, providing additional options for graphic wall or floor installations. The Stringer tile, a hexagonal form with subtle tick marks, reinforces geometric aesthetics. Deam intends for these tiles to be smart, fresh, functional, and versatile, serving as a starting point for individuals to express their own design vision, aligning with Dwell's foundational principles. The Concrete Collaborative website provides further information and sample ordering for the Dwell collection. #TileDesign #ConcreteCollaborative #DwellCollaboration #SurfCultureInspired #EncausticTiles #InteriorDesign #ArchitecturalTiles #HomeDecor #ModernTiles

Natural elements, such as rocks, minerals, and fossils, are increasingly being used as distinctive decorative statements in home interiors, moving beyond their traditional roles as scientific specimens or casual curios. Mark Pospisil's Southlake home exemplifies this trend, showcasing a diverse collection of geological artifacts integrated into his living space. His collection includes a large calcite stalactite from Bisbee, Arizona, which once resided in New York's American Museum of Natural History, now prominently displayed on his living room hearth. This piece highlights how natural formations can function as unique, sculptural art. Pospisil's home also features wall-mounted fossils of fish and palm flowers from Wyoming's Green River, as well as framed fossilized palm fronds that exhibit a spectrum of colors. A substantial coffee table, approximately seven feet long, is crafted from a slab of polished petrified wood mounted on an irregularly shaped cypress wood base, serving as a functional and artistic centerpiece. Throughout his living space, cherry wood display cases house smaller, meticulously arranged minerals and gems, demonstrating a passion that extends beyond mere hobbyist collecting. Pospisil, a retired senior vice president for geology from XTO Energy Inc., is the curator of the Lyda Hill Gems and Minerals Hall at the Perot Museum of Nature and Science, with 27 specimens from his personal collection on loan to the museum. He is also an active member of the Mineralogical Association of Dallas, indicating a vibrant community of collectors in the area, often stemming from the region's petroleum industry. The market for these natural decorative items spans a wide price range. While museum-quality pieces, such as the 200-ounce crystallized gold or 51-pound gold nugget at the Perot Museum, can fetch millions, and rare crystal formations can reach six-figure sums, Pospisil notes that many attractive decorative rocks are available for under $500. Common examples include petrified wood bookends or geode cathedrals filled with amethyst crystals. For more exotic requirements, businesses like Mineral Hunters Gallery, run by Jim Penix and D Oswalt in the Dallas Design District, cater to designers seeking unique pieces. Penix, with a background in geology, started the gallery over two decades ago and now supplies custom orders, such as 20 selenite crystal lamps mounted on acrylic bases, known for their elegant, shimmering effect. Designers at Mineral Hunters Gallery often cut, polish, and even alter the color of stones to meet specific aesthetic demands; for instance, purple quartz (amethyst) can be heated to transform into golden yellow citrine. Oswalt points out that the stark, hard-edged silhouettes of rocks and minerals make them particularly suitable for modern decor, though they can complement traditional styles as well. The gallery's inventory includes diverse specimens like fossilized sea urchins, pink zeolite, sea-green apophyllite, and blackish-purple stalactites, with a restroom even featuring a sink made from amethyst crystals, emphasizing the uniqueness of each natural piece. Another significant player in this field is The Arkenstone Mineral Gallery in Richardson, owned by Rob Lavinsky. Named after a magical heirloom from J.R.R. Tolkien's *The Hobbit*, the gallery focuses on museum-quality specimens for serious collectors, operating by appointment. It boasts a 3,000-square-foot gallery, a plastics lab for custom display bases, and a dedicated designer room where specific requests for color, size, and material are met without requiring clients to know the exact mineral. Lavinsky, who began collecting at age 14, emphasizes the intellectual appreciation for intermediate-priced rocks (ranging from $500 to over $5,000). He has expanded his business internationally, opening a gallery in Shanghai to tap into the burgeoning Chinese collector market and participating in major international shows. High-end pieces, such as an 18-inch-tall clear quartz crystal tower resembling a skyscraper, can be acquired for approximately $20,000, offering a singular accent for a home. #HomeDecor #NaturalElements #GeologicalSpecimens #MineralCollecting #FossilDecor #InteriorDesign #DecorativeStones #LuxuryDecor #DallasDesignDistrict

Duffy London, an innovative design studio, has introduced its latest sculptural furniture piece, the ‘Dune’ coffee table, which is created using large-scale 3D printing with black quartz sand. This marks the studio's initial venture into 3D-printed sand furniture, building upon its previous handcrafted and CNC-machined marble table designs such as 'Civilization' and 'Monument Valley'. The project was a collaborative effort with German manufacturer Sandhelden. The ‘Dune’ coffee table is inspired by the natural, undulating patterns of desert sand dunes, reflecting a sense of fluidity and movement. The table features a rough, textured finish, available in either black or natural sand, and is topped with a thick glass surface, contributing to its grand aesthetic. Designer and founder Christopher Duffy expressed that the unique tactile quality and surprising weightiness of this new material are reminiscent of marble, making it an inspiring medium for their designs. Achieving the intricate, free-flowing twists and distortions of the table's base would be challenging with conventional manufacturing methods. Therefore, Duffy and his team sought a premium material and manufacturing process that could accommodate their artistic and concept-driven designs. The collaboration with Sandhelden allowed them to explore the versatility and beauty of 3D printing with sand, enabling the creation of complex forms that can be scaled up into larger furniture pieces and sculptural installations. Duffy noted that this new process allows their designs to be reimagined and formed in ways previously difficult to achieve, creating visually alluring, tactile, and weighty pieces. The 3D printing in sand provides exceptional flexibility and consistency in realizing the free-flowing design, aligning perfectly with the table's desert-inspired concept. Duffy found the ability to achieve fine details, down to the millimeter, and witness a permanent form emerge from millions of sand particles to be highly inspiring. This technology addresses the common challenge where design concepts are often limited by material constraints or inefficient manufacturing processes. The studio anticipates exploring future concepts and special editions with this method, considering it a significant advancement that redefines their design possibilities. Precision in the 3D printing process also allows for the integration of specific design elements, such as inlays for etched stainless steel authenticity plates and small rubber dots to support the glass tabletop. Duffy London plans to extend this finish to existing product lines, suggesting a 'Dune' version of their 'Abyss' table. The manufacturing technique, binder jetting, employed by Sandhelden, utilizes locally sourced quartz sand from Bavaria. This specific sand, with its edgy grain shape, ensures smooth binder penetration through each layer. The process is also approximately 40% more economical than other methods. Moreover, excess unbound material is recycled, and binders are made from renewable, locally sourced materials such as corn husks, rice hulls, sugar cane, and other biomaterials, promoting a sustainable manufacturing model. Laurens Faure, CEO of Sandhelden, highlighted the strong focus on regionality, with production facilities, partners, and suppliers all located in Bavaria, minimizing the carbon footprint. The studio offers both rectangular and circular variations of the coffee table and will also accept requests for bespoke pieces, emphasizing the adaptability and potential of this design concept. #DuffyLondon #3DPrinting #FurnitureDesign #CoffeeTable #QuartzSand #SustainableDesign #SculpturalFurniture #DesignInnovation #HomeDecor

Roula Salamoun, a Lebanese designer, drew inspiration from natural organic processes to create her latest furniture collection, which includes Archipelago seats and Strata tables. The designs are influenced by insular landscapes and topographical studies, encouraging users to examine the intricate details of each piece. The collection aims to evoke a sensory response through its tactile qualities and natural forms. The Archipelago seats demonstrate sculpted edges, similar to objects shaped by time and natural elements. Their tapered bases are inspired by coastal erosion, while the backrests are reminiscent of highlands in a seaside landscape. When grouped, the seating units suggest a cluster of islands and peninsulas, maintaining their distinct presence whether arranged together or separately. The cohesive aesthetic is achieved through matching fabrics, available in a variety of colors that reflect different natural environments. Each Archipelago seat is handcrafted, featuring a solid wood structure enveloped in foam, and then meticulously hand-upholstered to ensure quality and comfort. Expanding on Salamoun's previous Strata rug collection, the Strata tables are three-dimensional objects that mimic natural geological formations like cliffs and sea stacks. The sharp stratifications visible in each table appear to be the result of elemental forces over time, alongside human activity. The tables are individually hand-cast using a combination of resin and natural marble, employing an intuitive molding technique. Salamoun's commitment to environmental consciousness is evident in her selection of natural stone remnants from the construction industry. This approach ensures that each Strata table is unique, possessing its own distinct variations in color and texture, making every piece an individual work of art reflective of its natural and recycled components. The collection highlights the beauty and resilience of nature through thoughtful design. The designer's method of incorporating natural processes and materials not only produces aesthetically pleasing furniture but also promotes sustainability by repurposing industrial byproducts. The Archipelago seats and Strata tables together form a cohesive collection that invites contemplation and engagement with the natural world, transforming organic inspirations into functional and artistic home furnishings. #RoulaSalamoun #FurnitureDesign #NatureInspired #ArchipelagoSeats #StrataTables #HomeFurnishings #SustainableDesign #Handcrafted

This article from T Magazine highlights a range of cultural and lifestyle recommendations, featuring a former N.F.L. player turned furniture designer, a new art gallery in TriBeCa, a botanical-inspired wallpaper collection, an Athens restaurant showcasing contemporary Greek art, a homey Seattle hotel, and a hand-painted apparel line. Each section provides details about the featured subject, including their background, inspiration, notable works, and practical information for visitors or consumers. Michael Bennett, a former N.F.L. player, founded Studio Kër after retiring from football in 2020. His furniture designs are deeply inspired by his activism work for racial justice, his upbringing in Louisiana and Texas, and his ancestral roots in Senegal. Bennett’s inaugural exhibition, “We Gotta Get Back to the Crib,” features an 11-piece collection of sculptural furniture that reinterprets objects found in communal Black spaces. Key pieces include the Gumbo lounge chair, a sophisticated take on the monobloc chair, and the Pew couch, inspired by church benches, crafted from leather and ekki wood. The exhibition debuted at Theaster Gates’s Rebuild Foundation in Chicago and is scheduled to travel to Houston. In TriBeCa, New York, gallerist Jack Shainman opened a new 20,000-square-foot gallery called The Hall in the historic Clock Tower Building. This Beaux-Arts space, built around 1898 and formerly home to the New York Life Insurance Company, has been renovated and restored. The gallery serves as a new cultural center offering free exhibits, allowing visitors to appreciate both contemporary art and the historic Manhattan architecture, including its preserved bank vault and 29-foot-high coffered wood ceilings. The Hall plans to officially open in September with a 16-foot-tall bronze sculpture by artist Nick Cave. Currently, it features Richard Mosse’s immersive 74-minute multi-spectral video installation, “Broken Spectre,” which addresses the destruction of the Amazon rainforest. Mosse emphasizes the historical connection between the building’s past, built on wealth from enslaved people, and ongoing global issues like environmental destruction. Marian McEvoy, a former fashion and design editor, launched a new wallpaper and fabric collection with Schumacher, inspired by her botanical collages and illustrations. After nearly 30 years in Paris and Manhattan, McEvoy moved to a cottage on the Hudson River, where she creates her art. Her collaboration with Schumacher features six wallcoverings and four fabrics, including prints like Thistle Vine, Polka-Dot Jungle, and Bow-Wow-Wow, all reflecting her signature use of strong colors and lines. McEvoy has incorporated these designs into her own home, showcasing her personal approval of the collection. In Athens, entrepreneur and art collector Philippos Tsangrides opened Gallina, a restaurant designed by Objects of Common Interest. The interiors blend diverse materials such as red marble, pink leather, terrazzo, and wood, creating an unexpected aesthetic. Gallina also displays pieces from Tsangrides’s private art collection, including a silk tapestry by Jannis Varelas and a neon sign by Olga Migliaressi-Phoca. A notable design element is a sinuous white light tube by the architects. The menu, curated by chef Pavlos Kiriakis, features dishes with no specific provenance, such as chicken with miso beurre blanc and truffle, and wild mushrooms with white chocolate béarnaise. Tsangrides intends to open a wine bar nearby. Julian Hagood and Jake Santelli opened Harry’s Guest House, a two-room hotel in Seattle’s Capitol Hill, inspired by their neighbor Winnie. The Dutch Colonial home was purchased from Winnie, whose drawings and wooden writing desk are now integrated into the hotel’s design. One suite is named after Winnie, and the other after the couple’s dog, Lucy. The interiors combine vintage and contemporary furniture and textiles, featuring a 1940s hand-carved wardrobe and Zak+Fox fabrics. Guests can also enjoy in-room dining from Harry’s Fine Foods, Hagood’s adjacent restaurant. Artists Julia Dault and Hannah Whitaker launched Signs Point to Yes, a line of hand-painted apparel. Their sweatshirts and pants feature designs like metallic tulips, sherbet-hued confetti, and smiley (and sad) faces, often painted using ketchup bottles to achieve a gestural, imperfect style. The brand name, inspired by a Magic 8 Ball, conveys a sense of optimistic humor. The artists selected comfortable cotton garments as their canvases, recognizing their popularity during the pandemic and their continued appeal beyond loungewear. #SculpturalFurniture #ArtExhibition #Design #ArtGallery #InteriorDesign #HomeDecor #Restaurants #Hotels #Fashion

Drag And Drop, a Romanian design and manufacturing studio co-founded by Madalin Gheorghe and Dragos Sabareanu in 2019, is known for its innovative approach to design, merging advanced technology with artisanal techniques. The studio's ceramic collection showcases this philosophy by reimagining the function and aesthetics of everyday objects, specifically vases. The creation process leverages a large 3D-ceramic printer to produce intricate patterns, which are developed using sophisticated algorithmic modeling software. Throughout the design and manufacturing process, a strong emphasis is placed on sustainability, aesthetic appeal, and overall quality. The collection features five distinct vase designs, each drawing inspiration from natural patterns and traditional craftsmanship. The 'Intertwined' vase, for instance, is characterized by its organic, interwoven geometric pattern, reminiscent of growth structures found in tree bark and root systems. This unique design is achieved through 3D printing using 100% natural clay. While the interior of the Intertwined vase is hand-glazed, its exterior maintains a matte finish, a consistent characteristic across the entire ceramic collection. This contrast highlights the intricate textures created by the 3D printing process. Another design, 'Bulky,' is offered in three different sizes. This vase features a textile-like pattern that interacts with light throughout the day, creating varying visual effects. The design encourages tactile engagement, inviting individuals to explore its geometric forms and textures through touch. This interactive element adds another dimension to the appreciation of the piece, allowing for a more intimate connection with its design and material. The 'Ripple' vase demonstrates the studio's ability to translate complex mathematical formulae into aesthetically pleasing natural patterns. Its design mimics the visual effect of rippling liquid, such as the concentric circles formed when a stone is dropped into water. This piece exemplifies how technology can be used to replicate and enhance natural phenomena, creating objects that are both visually striking and conceptually rich. The wave-like pattern provides a sense of movement and fluidity, despite the static nature of the ceramic material. The 'Kilim' vase pays homage to the traditional tapestry-weaving methods employed in regions historically part of the Persian Empire. This design represents a contemporary reinterpretation of an ancient craft, demonstrating a harmonious blend of traditional artistry and modern industrial design. By translating the intricate patterns of kilim carpets into a 3D-printed ceramic form, the studio bridges the gap between historical techniques and cutting-edge manufacturing, creating a piece that is culturally resonant and technologically advanced. Finally, the 'Melting' vase directly incorporates its manufacturing process into its aesthetic. The design plays on the suppleness of wet clay during the layering process of 3D printing, creating the illusion of a soft object that appears to be melting. This visual effect is achieved despite the hard, finished ceramic product, creating an intriguing juxtaposition. The Melting vase challenges perceptions of material properties, making a rigid object appear fluid and malleable, highlighting the transformative potential of 3D printing in ceramic art. #3DPrinting #CeramicVases #NatureInspiredDesign #AlgorithmicModeling #SustainableDesign #HomeDecor #ModernCraftsmanship #DragAndDropDesign #InteriorDesign