Object & Thing’s latest exhibition takes over LongHouse in East Hampton

Nidhi Kapur, the founder of Maiden Home, established the brand in 2017 to address a perceived gap in the modern home decor market. Her experience furnishing her first home revealed a prevalence of generic designs and subpar craftsmanship among large retailers. Leveraging her technology background, Kapur aimed to offer sophisticated yet affordably priced furnishings directly to consumers. Maiden Home sources its products from artisans in North Carolina, focusing on quality and distinctive design. The direct-to-consumer (DTC) model enables the brand to maintain competitive pricing while delivering high-end aesthetics. In the summer of 2022, Maiden Home launched Tribeca House, a temporary pop-up experience in New York. This initiative aimed to provide clients with a tangible interaction with the brand's aesthetic and demonstrate how Maiden Home's curated approach could be integrated into their personal living spaces. The pop-up was situated in a two-story, 2,500-square-foot loft, offering ample space to showcase a selection of items from the brand's summer 2022 collection. The layout and presentation at Tribeca House were designed to inspire visitors and offer fresh perspectives on contemporary home styling. The featured pieces at Tribeca House included several key designs from the summer 2022 collection. Among these was the minimalist Mulberry ottoman, characterized by its clean lines and functional design, reflecting a blend of modern simplicity and practicality. Another highlight was the Kenmare chair, crafted from ash wood and upholstered in a white tweed fabric, emphasizing texture and natural materials. The Vestry nesting tables also garnered attention; this pair of tables featured asymmetrical forms and were constructed from domestically sourced red oak, showcasing the brand's commitment to quality materials and unique design elements. The pop-up aimed to illustrate the brand's 'collected home mindset,' encouraging customers to view furnishings as cohesive elements that contribute to a unified and sophisticated living environment. By presenting these items in a curated physical space, Maiden Home sought to bridge the gap between online browsing and the tactile experience of selecting home decor. The initiative reinforced the brand's dedication to providing accessible, high-quality modern furnishings that prioritize both design and craftsmanship. While Tribeca House was a temporary installation designed to engage customers and introduce new collections, Maiden Home's core philosophy emphasizes the enduring nature of its products. The brand's focus on timeless design, durable materials, and expert craftsmanship ensures that its furniture is intended for long-term use, contrasting with the fleeting trends often associated with mass-produced items. This commitment to longevity is a central tenet of Maiden Home's identity, promising pieces that will remain relevant and cherished in customers' homes for years to come. #MaidenHome #HomeDecor #NewYorkPopUp #ModernFurnishings #DirectToConsumer #InteriorDesign #FurnitureDesign #ArtisanCraftsmanship

This article explores the immersive and unconventional art installations of New York-born, Los Angeles-based artist Tita Cicognani, focusing on her use of hot tubs as central elements in her multimedia works. The artist’s practice, which largely involves sculpture and assemblage, took a unique turn with the integration of hot tubs, driven by a desire for physical interaction and shared experiences, particularly during the COVID-19 pandemic lockdown. Her works contrast with the trend of “dematerializing practice” in the art world, instead embracing the tactile and communal. The piece begins by describing Cicognani’s current installation, "Heart Tub" (2022), at the Hammer Museum, where visitors can reserve 45-minute slots to soak in a heart-shaped, red crocodile-skin vinyl hot tub. This installation is designed to evoke a sense of "tackiness" and "religious frenzy," adorned with embedded video screens displaying floating holograms of flying saucers and bubbly hearts. The artist explains that this first tub was created during the initial COVID-19 lockdown, stemming from feelings of isolation and a craving for physical connection. The article then details Cicognani's earlier hot tub installations. "Mothership" (2021) was an inflatable pool designed as a "tiny wet fun house," featuring mirrors, LED lights, and a disco ball, reminiscent of a Gravitron ride. This work explored the convergence of religious and corporeal ecstasy. Another significant piece, "Prayer Cards" (2019), involved devotional cards featuring the artist's image in poses suggesting stigmata or submission, printed with the prayer of St. Francis of Assisi, challenging conventional notions of piety with pop culture aesthetics. Her second tub installation, "Grotto Tub" (2022), presented a more visceral experience. Located in an artist-run space in Chinatown, it encouraged a more uninhibited, almost chaotic interaction, with PVC pipes emitting a brown goo and accompanying videos of mud wrestling. This installation, playfully dubbed “art student soup” by a Hammer Museum curator, highlighted a deliberate embrace of the earthy and raw aspects of human interaction. The transition to the Hammer Museum for "Heart Tub" introduced new logistical challenges, including safety protocols, scheduled time slots, and ADA compliance, leading to elements like a chrome heart-shaped handrail. The article also delves into the video component of "Heart Tub," titled "I Still Believe" (2022). This 40-minute looping video, viewed from within the tub, features a green-skinned CGI avatar of the artist navigating a cheap motel with a heart-shaped tub, encountering UFOs, and immaculately conceiving an alien progeny. The narrative explores themes of desire, beauty, and love, drawing heavily from pop music and shiny aesthetics, elements Cicognani previously resisted but has now embraced. The work also has intellectual underpinnings, drawing parallels to other water-based art installations like Hélio Oiticica and Neville D’Almeida’s “CC4 Nocagions” (1973). Finally, the artist discusses the socio-economic implications of embracing "tacky" aesthetics and the interplay between high art theory and pop culture references, such as the film "Hot Tub Time Machine." The experience concludes with the writer reflecting on the custom-made pea-green towels, embroidered with an alien baby and the words "I still believe," which serve as a tangible takeaway from the immersive art experience. This installation, and Cicognani's broader body of work, actively seeks to engage the body and challenge traditional art consumption by bringing viewers directly into the art. #ArtInstallation #MultimediaArt #ContemporaryArt #HammerMuseum #ImmersiveExperience #Sculpture #PopCulture #ConceptualArt

Ilan Cohen, a finance professional and avid art collector, transformed his Manhattan Chelsea apartment into a museum-worthy space designed by the architecture and interiors studio BoND. Cohen's collecting journey began in 2009, evolving from buying any contemporary work to cultivating a distinct personal taste, influenced by artists like TM Davy. His collection, which includes over 45 pieces on the main salon wall and approximately 100 artworks throughout the apartment, features works by artists such as Nash Glynn, Jonathan Lyndon Chase, Louis Fratino, and Mark McNight. BoND, founded by Noam Dvir and Daniel Rauchwerger, had previously collaborated with Cohen on his modernist beach house in Fire Island. For the Chelsea loft, the challenge was to create a space that not only reflected Cohen's personal history and extensive art collection but also provided room for its continued growth and appreciation. Cohen was already familiar with the building's structure, having lived in another unit there in the early 2000s, and recognized the apartment's potential upon his initial viewing with Dvir and Rauchwerger. The project, which commenced in late 2021, involved reorienting the apartment's simple rectangular main living area to maximize natural light and integrate functional elements without compromising wall space dedicated to art. Inspired by Donald Judd's minimalist aesthetic, the designers implemented built-in furniture pieces and maintained a restrained material and color palette. A key design principle was to keep all furniture 36 inches tall or under, a deliberate choice by Rauchwerger to ensure that the eye level remained completely open, allowing unobstructed views of the artworks. The dining area, for instance, features a custom square dining table fabricated by Bill Zuerlein, complemented by Room & Board chairs, with artworks by Johnathan Lyndon Chase, Salman Toor, and Alex Olson adorning the walls. Cohen himself plays an active role in arranging his collection, often experimenting with multiple layouts before settling on a final display, stating that the fourth or fifth iteration typically sticks. This apartment serves as a testament to living with art, where the design thoughtfully supports and enhances a significant personal collection, transforming a residence into a dynamic gallery space. #ArtCollector #NewYorkLoft #BoNDArchitects #InteriorDesign #ArtCollectionDisplay #DonaldJuddInfluence #ChelseaApartment #ModernLiving #SpaceOptimization

The Contemporary Arts Museum Houston (CAMH) has transformed its first-floor exhibition space into a basketball court, an innovative art installation titled "CAMH Court." This project, which runs until April 27, reimagines the traditional museum experience by inviting active participation. The court itself is not a standard rectangle but a parallelogram, adding a layer of artistic challenge to the physical act of playing basketball. The artist behind this unconventional design is Trenton Doyle Hancock, a Houston-based artist with a history of exhibitions at CAMH, including "Trenton Doyle Hancock: The Life and Death of #1" in 2001 and "Trenton Doyle Hancock: Skin and Bones, 20 Years of Drawing" in 2014. Hancock collaborated with Creative Sports Concepts to bring his vision to life. The concept for turning the museum's gallery into a basketball court originated nearly three decades ago, in 1994, when a staff member jokingly suggested the idea. Over the years, this concept evolved into a museum legend, finally gaining traction and becoming a reality recently. The museum’s previous engagement with basketball, such as commissioning artists to create posters of Houston Rockets legends, may have contributed to the renewed interest in this project. Adidas also stepped in as a sponsor, further enabling the realization of this unique installation. Hesse McGraw, chairman of CAMH, highlighted Hancock's suitability for the project, noting the artist's desire to create an immersive environment where visitors could get lost in the space. McGraw explained that Hancock approaches his painting with a similar sense of play, making the transition of this idea into the basketball court space a natural fit for his artistic philosophy. This aligns with CAMH's identity as a non-collecting museum, which exclusively features temporary installations. This approach fosters a forward-looking perspective, constantly seeking innovative ways to connect artists with audiences. The author of the article describes a personal experience on the "CAMH Court," initially finding it challenging due to the unconventional layout and absence of traditional guiding lines. However, after adjusting, the experience became deeply engaging and even transcendent, surpassing a visit to a more traditional art space like Houston's Rothko Chapel on the same day. McGraw observes that the most compelling aspect of "CAMH Court" is how visitors spontaneously engage with the art by simply picking up a ball and participating, offering a stark contrast to the often inert experience of conventional museums. The installation provides an active and animated interaction with contemporary art, challenging perceptions of what a museum can be and how art can be experienced. #CAMH #ContemporaryArt #BasketballCourt #MuseumInstallation #HoustonArts #TrentonDoyleHancock #InteractiveArt #ArtExhibition

The Frick Collection, housed in a 1914 limestone mansion in New York City, has undergone its most extensive upgrade in nearly 90 years, allowing visitors for the first time to explore the private second-floor suites of the Frick family. Previously, the museum primarily showcased its collection in the grand first-floor rooms, but now the more intimate, domestic-scale spaces—comprising about 10 rooms and several passageways that once served as bedrooms and sitting rooms for Henry Clay Frick, his wife Adelaide, and daughter Helen—have been converted into galleries. This transformation offers a unique perspective on the collection within a historically preserved domestic setting. Selldorf Architects completed this comprehensive renovation, which opened in April, revealing the grand architectural style and personal living spaces of the early 20th-century industrialist family. A notable artistic feature on the second floor is an enchanting ceiling mural along the corridor, contrasting with the formal interiors. This hand-painted work by John Alden Twachtman depicts cerulean skies and landscapes filled with monkeys dressed in Chinese costumes, engaging in human activities. This playful design is a nod to French Rococo traditions of singeries and chinoiseries, with a particularly charming detail being a monkey lighting candles for a floating lantern near the entrance to Adelaide’s bedroom suite. The mural's commission highlights the pioneering work of Elsie de Wolfe, considered America's first interior decorator. De Wolfe, at the beginning of her career, boldly pitched her services to Mr. Frick in 1914, emphasizing her expertise in detail and understanding of women's spaces, which she argued male decorators often overlooked. Her persistence led to her being hired, and she subsequently created the iconic Boucher Boudoir. This room, a vibrant display of 18th-century French exuberance, features eight cherub-laden panels painted by François Boucher, depicting the arts and sciences. After previously being displayed on the museum’s main floor, the Boucher Room has been meticulously restored to its original location adjacent to Mrs. Frick’s bedroom. This boudoir, serving as Mrs. Frick's private sitting room, is celebrated for its complete ensemble, including its corner location with windows offering views of Central Park and 70th Street. Another significant area now accessible is the beloved breakfast room, where the family shared their first meal of the day. This room, facing east, captures the morning light, creating a warm ambiance, and showcases the domestic routine of the Frick family, where meals were brought up from the lower-level kitchen by a waiter. To commemorate these enhancements, the museum is hosting the exhibition "Vermeer’s Love Letters" throughout the summer. This exhibition reunites the Frick’s masterpiece, Vermeer’s "Mistress and Maid," with two special loans: "The Love Letter" from Amsterdam’s Rijksmuseum and "Woman Writing a Letter" from the National Gallery of Ireland. Displayed together in a single gallery for the first time, these three works offer a fitting tribute to the newly refurbished Gilded-Age museum. #FrickCollection #NewYorkCity #MuseumRenovation #ElsieDeWolfe #InteriorDesign #GildedAge #VermeerExhibition #ArchitecturalHistory #ArtCollection

The Edinburgh gallery Bard presents a new exhibition titled 'Bardware,' which aims to reframe the perception of craft from an exclusive, high-art domain to an accessible, everyday practice. Founded by Hugo Macdonald and James Stevens, Bard seeks to bridge the gap between craft as a specialized hobby and as luxury objects, instead focusing on items designed for daily use and sensory engagement within the home. The inspiration for 'Bardware' stems from the founders' appreciation for traditional hardware stores, which they view as symbols of optimism and the human capacity to make, fix, build, and repair. The exhibition features works from 20 Scottish craftspeople, designers, and artists, all commissioned to create objects that enhance daily domestic life. The brief encouraged the artists to produce items that could be touched and used regularly, challenging the conventional hands-off approach often associated with gallery exhibits. The display includes a diverse range of functional and decorative items, such as Primitive Arrangement vases by Nick Ross, two-armed candelabras by David Taylor, and architectural toilet-roll holders crafted by Juli Bolaños-Durman from salvaged materials. Other notable pieces include James Rigler’s bronze-glazed ceramic 'Greek Knobs,' Oliver Spendley’s bowls made from polished mountain rock shards, and All About Willow’s hand-turned cherry porridge spurtles. The collection also showcases Clement Knives’ pocket knives made from whisky-barrel hoops, Eve Eunson’s baskets woven from sea plastic collected from Shetland’s beaches, and Studio Viv Lee’s devotional ceramic characters. Additionally, Jess White contributes leather-wrapped boulder doorstops, while Araminta Campbell offers cozy alpaca hot-water bottle covers. Each piece is presented to encourage interaction, emphasizing the tactile and experiential qualities of craft. This exhibition marks three years since Bard opened its doors in Leith, establishing a unique approach to presenting and selling craft. Macdonald highlights the importance of humor and mild irreverence in making craft more approachable and moving it beyond the confines of a museum setting into everyday life. He acknowledges the cost associated with handcrafted items but underscores their inherent value, contrasting this with the societal issue of cheap, mass-produced goods. Since its inception, Bard has observed a significant increase in public engagement with craft, marked by a greater willingness to purchase, utilize, and inquire about the practitioners, materials, and skills involved. Macdonald believes that craft is a fundamental 'life force' that enriches human experience and fosters connections across cultures and time. He posits that craft is not a regressive or counterbalancing force to design and technology but rather a parallel and powerful element that becomes even more impactful when integrated into modern life, indicating a collective awakening to its enduring relevance and value. #CraftExhibition #ScottishArt #HomeDecor #DesignInteriors #FunctionalArt #BardGallery #EverydayObjects #HardwareShopInspiration #ContemporaryCraft

Hitomi Hosono's latest solo exhibition, 'Brook Street: An Artist's Eye,' showcases 30 new ceramic pieces within the historic London showroom of Sibyl Colefax & John Fowler. This unexpected pairing brings contemporary botanical ceramics into a space known for its classic English grandeur, a Mayfair townhouse dating back to 1723. The exhibition, held in association with Adrian Sassoon, strategically places Hosono's works among antique furnishings, often near windows overlooking a lush garden, creating a dialogue between crafted and natural beauty. Hosono's work, while deeply rooted in her Japanese upbringing with its delicate leaf and cherry blossom motifs, also draws inspiration from British influences. A significant example is her 'roses and pansies bowls,' which were inspired by a Colefax and Fowler fabric pattern from 1845. This particular series marked a technical and aesthetic departure for Hosono, as these bowls close inward, offering a sturdier, more tactile surface meant to be touched, contrasting with her earlier, more outward-emanating designs. She expresses a desire for people to experience the softness of the porcelain, akin to touching flower petals. The exhibition also features a tropical-themed series, initially created for last year's Jerwood Makers Open, with energetic patterns of hibiscus, coral, mangrove, and banana leaves. The vibrant colors in these pieces are achieved by mixing pigment directly with porcelain powder, a technique Hosono employs to preserve the intricate lines of her designs, as glaze would obscure them. Her use of the term 'delicate' for her work is an understatement, given the extraordinary level of detail and precision involved. Hosono's artistic process is meticulously labor-intensive. It requires months to perfect plaster molds of tiny leaves and flowers. She then uses modified, sharpened dental tools to add intricate detail to each component before individually applying them to a clay surface. Some pieces are so fragile that they cannot be shipped internationally due to the risk of damage. Notably, in her 'dew drop bowls,' each water droplet is individually carved, a detail she acknowledges might not be immediately noticed but is essential for the beauty of the final work. For the first time, Hosono's drawings are also on display, a decision influenced by Philip Hooper, design director of Sibyl Colefax & John Fowler. Hosono initially resisted this, considering drawings part of her creative process rather than finished products. She uses drawing to understand the structure and beauty of plants, viewing it as a form of anatomical study. She emphasizes that her ceramic representations are not exact replicas but are based on her memories and interpretations of botanical forms, leading to fantastical yet authentic results. She embraces the individuality of her artistic vision, as seen in her distinctive banana leaf pieces. The influence of the Perrier-Jouët Arts Salon Prize, which Hosono won in 2013, is evident in grape-patterned vessels that pay homage to the champagne house's Art Nouveau heritage, and in the overall adventurous and free-spirited nature of the collection. As a member of the Arts Salon, Hosono now contributes to selecting new winners, acknowledging the Salon's role in broadening her artistic horizons and providing a source of inspiration through its gatherings of creative influencers. #CeramicArt #HitomiHosono #LondonExhibition #InteriorDesign #BotanicalArt #ContemporaryCeramics #ArtAndInteriors #SibylColefaxAndJohnFowler #AdrianSassoon

Peter Dunham, an ELLE DECOR A-List interior designer renowned for his 'Englishman-meets-L.A. style,' is expanding his presence with a new 3,500-square-foot showroom in New York City. The showroom, located at the New York Design Center's 200 Lexington Avenue, is set to open on August 19. Dunham, who has been operating from Los Angeles since 2003, expressed his long-held desire to establish a New York presence, stating, 'For me, it’s always New York...and honestly, I wish I’d done it sooner.' The new space will showcase a diverse range of products from both Dunham’s Hollywood at Home and Peter Dunham Textiles brands. Visitors to the showroom will experience an environment designed to emulate Dunham's distinct interior projects, characterized by opulence, playfulness, vintage influences, and a strong affinity for bold colors and patterns. The showroom aims to offer a tangible experience, allowing clients to 'touch and feel and try and test the quality and comfort' of his offerings, emphasizing the designer's belief in the importance of physical interaction with products despite the shift in retail landscapes. The showroom's layout is meticulously curated to reflect Dunham's design philosophy, presenting a comprehensive display of his work. A central feature will be an array of his signature prints and woven fabrics, including the widely recognized 'Fig Leaf' print, which adorns the walls. This is complemented by outdoor furniture selections, such as a textured beige Hollywood at Home Rush Club armchair, upholstered in Nawab fabric. The space also includes a dark green cabinet filled with indoor-outdoor poufs, a varied collection of patterned cushions, and a wall dedicated to fabric swatches, inviting tactile exploration. His latest 'Shani' textile launch, drawing inspiration from Indian block prints, will also be featured. Beyond textiles and seating, the showroom will display lamps, a four-poster bed draped in a 100 percent alpaca bedcover crafted by Peruvian handweavers, and cowhide chairs. Notable pieces include the 'Carmania' woven fabric, previously used in Dunham’s Paris apartment. The showroom is designed to be a condensed yet comprehensive representation of Dunham’s extensive career and dedication to fabric artistry. Dunham describes the showroom as a layered environment, mirroring his approach to designing a room—a fusion of art, accessories, vintage items, his original designs, and collaborations with artisans. For those unable to visit in person, the article provides a glimpse into some of the featured items, offering a preview of the diverse collection available at the new New York location. #PeterDunham #NYCShowroom #InteriorDesign #HomeDecor #Textiles #HollywoodAtHome #NewYorkDesignCenter #DesignTrends #FabricDesign

The recently opened J.Crew men’s store on the Bowery in New York City offers a unique shopping experience infused with vintage aesthetics and a distinct boathouse theme. Designed by Estelle Bailey-Babenzien of Dream Awake, the concept shop serves to launch the brand's first men's collection, spearheaded by her husband, Brendon Babenzien, J.Crew men’s creative director and Noah cofounder. The design aims to blend a classic yet current vibe that resonates with the J.Crew customer and the New York lifestyle, incorporating elements like unlacquered brass, warm woods, worn rugs, nutty brown leathers, and strategic splashes of J.Crew green, a deep foresty shade visible on the coffee bar walls. Beyond its retail function, the store's highly curated interior also serves as a source of practical and creative closet organizing inspiration. Bailey-Babenzien highlights three key strategies homeowners can adopt to transform their dressing rooms into spaces that are both functional and visually appealing. The first technique, termed 'Either Oar,' involves utilizing decorative items like oars not just for their aesthetic appeal but also for practical purposes. In the store, paddles are adapted into a rack for hanging garments, a concept that can be replicated in entryways or mudrooms to provide useful hanging space while maintaining a nautical theme. The second tip, 'Go Vertical,' encourages moving away from conventional enclosed closet rods. The store showcases an innovative hanging solution where clothing rods, rigged by a sailboat captain with climbing rope, can be installed in open spaces. This method allows for greater flexibility in placement and offers an opportunity to incorporate unique materials like black rope to match personal style, transforming a mundane storage solution into a design feature. Finally, 'Forward Thinking' focuses on the strategic use of simple hooks or knobs, exemplified by brass fixtures in the store. These elements are designed to turn clothing forward, making it easier to view and select outfits. Additionally, hooks provide convenient spots for organizing accessories, enhancing the overall functionality and tidiness of a closet or dressing area. These design insights from the J.Crew store demonstrate how retail space design can inspire practical and stylish home organization solutions, creating dressing rooms that are both efficient and aesthetically pleasing. #ClosetOrganization #DesignInspiration #RetailDesign #HomeOrganization #InteriorDesign #FunctionalDecor #JcrewStore #EstelleBaileyBabenzien

This article offers comprehensive guidance on effectively hanging art, drawing insights from award-winning designers, a museum director, and Christie’s specialists and art handlers. It emphasizes the importance of considering the context in which art will be displayed, noting that factors such as whether the space is domestic, business, or institutional, along with architectural elements like windows, doors, ceiling height, and floor quality, all influence how an artwork is perceived and interacts with its environment. The article advises against hanging art in locations that could lead to damage. Specifically, it cautions against placing artworks above fireplaces or radiators, as heat can melt or damage canvases over time. Similarly, direct sunlight is highlighted as a risk for fragile or unprotected works, with a strong recommendation to avoid hanging drawings or watercolors near windows. To mitigate these risks, smart framing techniques are suggested, including the use of special glazes that block UV light to prevent fading and seals that create artificial environments to protect against humidity and temperature fluctuations. The article references a guide to framing for further expert advice. Establishing the correct height for hanging art is another key aspect. It notes that modern and contemporary works are typically hung at 1.55 meters to the middle of the picture, a standard adopted by museums and Christie’s. Old Masters are often hung slightly higher. However, domestic settings may require adjustments based on furniture and ceiling height, and some artists, like Le Corbusier, provided specific hanging instructions. The importance of using double fixings rather than a single central one is stressed to prevent works from tilting forward or moving easily. The article also delves into the aesthetic considerations of art display. It introduces the concept of “negative space” as a crucial element when arranging multiple artworks, defining it as the space between works that guides the spectator's eye. Designers encourage variety in art arrangements, advocating for the mixing of periods and genres to create dynamic visual dialogues. Examples include pairing 17th-century portraits with contemporary paintings or combining a large painting with smaller groups of photographs. Finding visual or thematic links between artworks is suggested as a method for grouping, even if they span centuries apart, as demonstrated by juxtaposing a Leda and the Swan painting with modern bird sculptures, or a David LaChapelle work with a Dutch Old Master to explore shared themes. Conversely, playing on contrasts is also presented as an effective strategy to allow individual works to stand out as singular forces. Finally, the article provides practical advice for installation, emphasizing the need for technical precision over subjective judgment. It recommends using a tape measure and spirit level to ensure artworks are hung straight, especially for symmetrical arrangements. Structural considerations are also paramount: understanding wall composition is crucial, particularly for heavy pieces, and it's important to be cautious of water pipes and electrical wiring, especially in older homes where their placement might be less predictable. Despite these technicalities, the overarching message is that personal preference should ultimately guide the arrangement, stating that there is no absolute right or wrong way to organize a collection. Experts’ personal approaches reveal diverse methods, from protecting prints in bedrooms to integrating small works into bookshelves, underscoring that a good artwork will look appealing regardless of its placement. #ArtHanging #HomeDecor #InteriorDesign #ArtCollection #FramingArt #ArtDisplay #MuseumStandards #ArtPreservation #ContemporaryArt

This article showcases the unique interior design styles of three designers, Jenny Powell, Edward Girardi, and Biff Bartron, as demonstrated in their personal homes. Each designer offers insights into their design philosophy, material choices, and practical tips for creating functional and aesthetically pleasing living spaces. Jenny Powell, owner of Somethings Unique, resides in a spacious Landenberg home with her family. Her design approach emphasizes a blend of elegance and family-friendliness, incorporating a relaxed European style with Scandinavian influences. After moving into their home, the Powells lightened dark wood floors and painted walls in pastel yellow and beige to create a brighter atmosphere. Powell's design is characterized by mixing old and new elements, such as Swedish Rococo-style sidechairs paired with contemporary fabrics, and the use of natural light and preserved greenery. Key elements of her home include fauteuil chairs from Spain with a gray-blue glaze, silk curtains in two colors, and durable microsuede upholstery for family-friendly living. The kitchen features granite countertops and unique hammered metal hardware, while the sunroom offers a casual dining space with a pine farmhouse table. Powell's home is adorned with her father's art, and she advocates for mixing styles, choosing tactile materials, incorporating personal art, and using a soft Scandinavian color palette. Edward Girardi, a proponent of high-rise living, has transformed his 16th-floor condominium in Wilmington into a sophisticated urban sanctuary. His design focuses on maximizing space and functionality in a compact environment. Girardi converted an adjoining unit into an intimate media room, painted in a custom purple-tinged gray. He meticulously blends his own paint colors and uses a sophisticated neutral palette as a backdrop for his home. A large, self-painted contemporary artwork dominates the living room, complementing the angular, masculine aesthetic. He repurposed a cocktail table by replacing its gold top with etched glass and staining the wood mahogany. Girardi's philosophy includes investing in neutral basics and updating accessories with lively prints. He emphasizes grouping family photos for impact and keeping them current. The dining area features a glass and chrome table for spaciousness, and custom built-in cabinets hide a bar and storage. His galley kitchen is designed for efficiency, with ceiling-height cabinets, slate tiles, and cork flooring. In the bedroom, a contemporary pedestal bed is paired with Shaker nightstands, and the space is unified by painting moldings and doors the same color as the walls. Girardi's advice for small spaces includes using larger tiles, decluttering with built-in storage, grouping pictures, measuring furniture carefully, and using solid colors to enlarge a space. Biff Bartron, a partner in BW Design Group, showcases an elegant California ranch home in Wilmington that balances luxury with simplicity, reflecting his preference for peaceful, spa-like environments. Despite initially being in disrepair, Bartron envisioned an open, light-filled space. He renovated in stages, prioritizing the kitchen and bathrooms. The enlarged kitchen features two dishwashers, three microwave ovens, stainless steel sinks, granite counters, and porcelain tile floors that mimic limestone. Sleek cherry cabinets with frosted glass panels and a pass-through window enhance light. A clever design integrates a Sub-Zero refrigerator, with the back half extending into the garage. Bartron unified the public spaces by installing dark ebony-stained hardwood floors. The dining table has an acid-treated copper top, and the living room offers comfortable seating for 11 around a baby grand piano. A chocolate brown daybed and silk curtains frame a bay window, allowing the city lights to become part of the decor. His color palette and simple furniture highlight a dramatic art piece from Paris. The powder room features hand-painted bamboo shoots and polished river rocks in the sink, adding a surprise element. The master bath is a spa-like retreat with a large stone shower and bamboo accents. Guest rooms on the lower level open to a private garden, and a secondary kitchen caters to entertaining. Bartron upgraded lighting and installed a whole-house stereo system. His recent addition of an Asian-inspired front porch creates a tranquil entry. Bartron recommends an Asian-inspired palette, using frosted glass for light and privacy, pampering oneself with luxury baths and linens, keeping window treatments simple to preserve views, and choosing durable materials for pet and family-friendly living. #InteriorDesign #HomeDecor #DesignerHomes #ScandinavianDesign #UrbanLiving #ModernRanch #SpacePlanning #Renovation #HomeStyling

The article highlights how interior designers are increasingly embracing eclecticism and individualism by incorporating vintage and antique decor into their projects to add character to homes. Decorating with art is presented as a classic and effective method to infuse personality, showcasing individual tastes and styles while adding color, pattern, and texture to a room. Emily Henderson, a prominent designer, recently shared her passion for vintage art on Instagram, revealing her collection of eleven pieces and offering insights on how to select and place art within a home. Henderson demonstrates that shopping secondhand for art can be a cost-effective yet impactful way to introduce unique character. Her collection includes a cubist-style painting in a kitchen nook and a small framed dog painting unconventionally placed on a bathroom window. This particular placement is highlighted as a clever strategy to accessorize an otherwise empty space and bring a pop of color. She also features a pair of flower still lifes, bought for only $75, which she hung one above the other, transforming a blank wall into an eye-catching display. These pieces are complemented by gold tarnished frames and a matching gold reading light, creating an antique-inspired setup. The article emphasizes that antique and flea markets are excellent sources for art. Henderson showcases a statement piece in her dining room and a scenic seascape above a chest of drawers in her hallway. A notable flea market find is an Expressionist painting depicting a woman's side profile, rendered in bright primary colors. Henderson invested in a gold frame to enhance its vibrancy, pairing it with an antique-style gold sconce to create a sophisticated and timeless display. Art is presented as a simple yet powerful tool for decorating with antiques, capable of elevating any empty surface. Still-life paintings, often simple in subject matter, are shown to convey a classic and high-end aesthetic. Henderson places another still-life painting on her kitchen countertop, infusing the area with color and warmth. Her ninth vintage piece, a geometric, cubist-style artwork, is positioned above her fireplace mantel, providing character and rustic charm to a living room, especially when contrasting with minimal white walls and neutral decor. Emily Henderson's approach to art placement is noted for its unconventionality, as she isn't afraid to utilize overlooked areas. A small painted landscape, set in an antique wood frame, is placed within her kitchen shelves. This charming addition brings warmth and character to the kitchen, elements that are often neglected in kitchen design. With a total cost of $80 for this framed picture, Henderson exemplifies how secondhand shopping can effectively refresh dull areas. Ultimately, Henderson’s collection serves as inspiration for adopting the vintage trend for 2025, demonstrating that an eclectic and charming space can be achieved even on a limited budget through thoughtful art acquisition and placement. #EmilyHenderson #VintageArt #HomeDecor #InteriorDesign #SecondhandFinds #ArtPlacement #EclecticStyle #AffordableDecor #FleaMarket

German artist Thorsten Brinkmann has embarked on his largest private art piece, transforming a dilapidated 1912 family home in Pittsburgh's Troy Hill neighborhood into a permanent art installation called 'La Hütte Royal.' The house was acquired in 2011 by local art collector Evan Mirapaul, who was inspired by the Art House Project on Naoshimi Island in Japan, where artists revitalize abandoned properties. Mirapaul invited Brinkmann to reimagine the neglected structure, which outwardly appears as a typical suburban house, to challenge perceptions of what lies within such unassuming facades. Brinkmann's vision has resulted in a complete overhaul of every room across the three main stories, including the basement where he installed a boxing ring. Visitors entering La Hütte Royal are immediately confronted by an enormous bell, a salvaged prop from a children's television show, setting the tone for the eccentric experience. The artist has ingeniously manipulated the house's internal structure by introducing new walls, creating intentionally narrow corridors and unexpected, unsettling nooks and crannies that disorient and engage visitors in a spatial puzzle. A central theme of 'La Hütte Royal' is creative reuse, with Brinkmann incorporating a vast array of found objects into his installation. Many of these items were discovered within the house itself or sourced from the local neighborhood, including old vinyl LPs. These salvaged materials are integrated into various artistic statements throughout the house, offering a narrative rooted in the property's history and surroundings. For instance, a home theatre located in the attic features vintage beauty parlor hairdryer stations meticulously arranged in neat rows, transforming functional items into a quirky display. Mirapaul emphasizes the contrast between the house's ordinary exterior and the imaginative world within, hoping the project will inspire viewers to consider the elaborate lives and stories that can be hidden behind conventional appearances. Brinkmann's use of materials found on-site or nearby makes the transformation deeply personal and poignant, highlighting a connection to the specific locality of Pittsburgh. He views 'La Hütte Royal' as a Gesamtkunstwerk, a total work of art, where his varied artistic practices—installations, photographs, sculptures, and videos—converge and where the boundaries between life and art dissolve. The installation includes specific artistic elements such as the artist's photographs and custom-designed wallpaper in the front foyer. One hallway features a dizzying wallpaper pattern that visitors must crawl through to access hidden rooms, further enhancing the interactive and immersive experience. Sculptures in the basement are crafted from found objects within the house, combined with Brinkmann’s own sculpted body parts, adding a surreal and personal touch. Another room is elaborately decorated with LPs and found objects, interspersed with Brinkmann’s sculpted ears and photographs, illustrating his distinctive artistic language. The whimsical boxing ring in the basement, complete with the artist's sculpted hands, was created in response to dilapidated fitness equipment found in the house, showcasing his ability to transform mundane objects into art. Vintage movie posters found in the house also line a hallway, contributing to the layered narrative of discovery and reinterpretation. 'La Hütte Royal' is located at 1812 Rialtostreet, 15212 Pittsburgh, inviting the public to explore this unique blend of art, architecture, and personal history. #ArtInstallation #ThorstenBrinkmann #LaHütteRoyal #PittsburghArt #FoundObjects #CreativeReuse #Gesamtkunstwerk #ExperientialArt #ArchitecturalTransformation

New York designer Bec Brittain, known for her sculptural and ethereal lighting creations made from brass and colored glass, recently unveiled her latest exhibition, ‘Strange Days,’ showcasing a return to more tactile materials. The exhibition, a collaborative effort with Alex P White and design duo Material Lust, features Brittain’s ‘Mercury’ installation as its centerpiece. Originally debuted at Design Miami two years prior, ‘Mercury’ has since been in storage and is now being presented in Brittain's newly relocated studio in Manhattan's NoMad neighborhood. ‘Mercury’ (2015) is an all-black design consisting of 35 strands of LED lights intricately woven with obsidian, jasper, and agate beads, culminating in a cascade of leather and suede tassels. Brittain describes this piece as revealing her “dark, moody side.” The installation is configured in a monumental, triangular arrangement, extending from floor to ceiling, creating a captivating and immersive experience within the exhibition space. Brittain personally crafted, knotted, and braided each leather tassel strand, a technique reminiscent of her earlier jewelry collections that featured large knotted rope necklaces and body harnesses, which she playfully termed ‘daytime bondage.’ To complement the atmospheric 'Mercury' installation, Brittain invited friends to contribute works that harmonized with its dark aesthetic. The exhibition includes armchairs by Alex P White, a former lead collaborator with Kelly Behun, and velvet furnishings along with Wicca chic seating from Material Lust. These additions collectively create a mood that is described as decidedly dark and elegant, evoking a sense of pagan spirituality and celebrating forms in dark hues. The overall ambiance is designed to be spellbinding, drawing visitors into a uniquely curated experience. The exhibition, ‘Strange Days,’ provides a platform for Brittain to explore different material palettes and artistic expressions beyond her usual lighting designs. Her decision to feature ‘Mercury’ after a period of storage highlights the piece's significance to her creative journey and her desire to share it in a setting that allows for its full artistic impact. The collaboration with White and Material Lust further enriches the exhibition, offering a cohesive yet diverse collection of works that collectively embody the desired dark and mystical theme. The show is on view until October 14th at Bec Brittain's studio, located at 27 West 20th Street, New York, inviting the public to experience this unique blend of design and art. #BecBrittain #StrangeDays #FurnitureExhibition #LightingDesign #InteriorDesign #AlexPWhite #MaterialLust #NewYorkDesign #ArtInstallation

A new exhibition titled 'Exhibition in Rennes: Ronan & Erwan Bouroullec' showcases the extensive work of French design duo Ronan and Erwan Bouroullec in their home region of Brittany for the first time. The exhibition is split across three venues: Les Champs Libres, the Frac Bretange contemporary art museum, and Le parlement de Bretagne, and is conceptually divided into two main parts. The first part is a 20-year retrospective focusing on the brothers' industrial design projects. This segment features collaborations with prominent design manufacturers such as Alessi, Magis, Kvadrat, Vitra, Artek, and Samsung. Notable inclusions are their furniture and domestic items, alongside an array of archival materials. These materials provide insight into their design process, including development notebooks and scale models, offering a comprehensive look at their evolution in industrial design. One such collaboration highlighted is the 'Serif' TV with Samsung, which received the Wallpaper* award for 'Best Domestic Design'. The second part of the exhibition, titled 'Urban Reveries' and installed at Les Champs Libres, delves into the duo's foray into municipal landscape design. This section presents a collection of dioramic architectural models that envision new public spaces. These models depict unique urban patterns, including rocky outcrops, elevated sculptural streams, and meticulously designed gardens, reflecting what the studio describes as 'a wandering or urban dreaming based on a reflection of the city layout'. The exhibit aims to explore innovative approaches to public urban environments. Further installations include 'Le Kiosque' from 2015, positioned in the parliament courtyard. This modular structure, constructed from powder-coated steel with an oak interior and an overhanging roof, first appeared in Paris' Tuileries. Conceived as a movable tool to integrate art into public spaces, in Rennes, it is paired with 'Palissade', a collection of outdoor furniture developed in collaboration with Hay. The exhibition also features '17 Screens', an abstract display that explores the convergence of 3D printing with traditional production methods. Previously exhibited at the Tel Aviv Museum of Art, this installation showcases futuristic constructions utilizing diverse materials such as glass, ceramic, wood, and aluminium rods. It also incorporates curtains made from cup-like mouldings by ceramics innovator Mutina and patterned textiles. This segment is characterized as an experimental and atmospheric exploration, blurring the lines between design and art. Overall, the exhibition is presented as a carefully curated blend of their established works and new, more experimental directions. It offers an opportunity to re-evaluate the Bouroullecs' classic designs while also providing glimpses into their evolving artistic and design philosophies. The show aims to offer visitors a comprehensive understanding of the duo's influential and multifaceted practice. #BouroullecBrothers #DesignExhibition #IndustrialDesign #UrbanPlanning #ContemporaryArt #FurnitureDesign #ArchitecturalModels #PublicSpaceDesign #3DPrinting #RennesExhibition

Design Miami/ Basel returned for its 13th edition, showcasing a diverse collection of new creative projects, iconic designs, and conceptual interpretations within the design genre. The event, held in the Herzog & de Meuron-designed fairgrounds, featured 43 international galleries representing modern and contemporary design, alongside ten special Curio presentations and large-scale installations, marking a significant celebration of both culture and commerce. This overview highlights several key installations and collections that captured attention. One notable presentation was the ‘(Con)temporary Home’ by Brazilian brand ETEL, designed by Italian architecture firm Superluna. This Collectors Lounge was conceptualized as a domestic environment, enclosed within a steel frame that subtly separated it from the fair's activity. The interior featured a curated mix of contemporary and historical Brazilian design pieces, complemented by photographs from Ruy Teixeira. A significant portion of the furniture offered to guests for relaxation, accompanied by champagne, included pieces by Jorge Zalszupin, honoring the Brazilian master on his 96th birthday. New York gallery Friedman Benda presented Nendo’s 'Watercolour Collection,' a series of 18 pieces designed to evoke the illusion of watercolor paintings on paper. Crafted from folded metal sheets, these objects utilized a special finishing technique to mimic paper, then hand-painted to create a light blue watercolor effect. The collection reimagined traditional furniture forms into abstract compositions, with the paint interacting with the shapes to produce a poetic, illusory quality. Belgian gallery Maniera collaborated with Dutch architect Anne Holtrop to present new works, including furniture, lighting, and accessories. These pieces formed micro-architectures that reflected Holtrop's distinct aesthetic, characterized by his unique sense of shape and material. Maniera's ongoing commitment involves commissioning architects to translate their signature styles into smaller-scale design objects. Design at Large, the annual initiative by Design Miami/ Basel, was curated by photographer François Halard in 2018. Halard explored the enduring impact of design through a series of nine diverse projects from the 20th and 21st centuries. The exhibition featured architectural elements by Jean Prouvé, interiors by Gaetano Pesce for the Dujardin children’s store, and a micro-architecture by RDAI. Halard's curatorial vision aimed to connect past influences with present and future design trends, emphasizing the continuity of ideas in art and design. ‘A New Layer Taiwan,’ presented by Spazio Nobile Gallery, showcased an initiative by the National Taiwanese Craft Research and Development Institute. This project fostered collaborations between Taiwanese craftsmen and international designers. Curator Lise Coirier brought together seven designers who worked with local artisans to produce a range of pieces, including ceramic works by Anton Alvarez and BCXSY, bamboo furniture by Sebastian Herkner and Jin Kuramoto, and lacquer objects by Julie Richoz and Wonmin Park. Olivier van Herpt, an Eindhoven graduate, presented 'Blue and White' for VIVID. This collection highlighted his unique ceramic 3D printing technique, which creates a distinct aesthetic. The series drew inspiration from the Delft tradition of blue porcelain, with cobalt pigment applied by hand before extrusion, resulting in a radial gradient pattern that symbolizes the collaboration between human interaction and machine precision. This project was initially commissioned by the Gemeentemuseum Den Haag. Calvin Klein made its debut at Design Miami/ Basel with an installation featuring Gaetano Pesce’s 'Feltri' chair, designed in 1987 for Cassina. The installation, inspired by a barn, was reinterpreted by creative director Raf Simons using vintage American heirloom quilts from the 19th and 20th centuries. It showcased 100 limited edition numbered chairs, marking a unique cross-disciplinary presentation. Lastly, 'Origins: Design from the Ancient World' was presented by Galerie Chenel and Oscar Humphries. Following his successful Curio installation from the previous year, Humphries, in collaboration with Paris’ Galerie Chenel, displayed Roman design for the first time at a design fair. The collection featured Greco-Roman artifacts, design, and architectural elements from 200 BC to approximately 200 AD, including columns, capitals, urns, and fragmentary sections from interiors and furniture. This exhibition aimed to introduce this material to a new audience and provide a fresh context, demonstrating the fundamental synergy and enduring influence of ancient design on contemporary genres. #DesignMiamiBasel #CollectibleDesign #ContemporaryDesign #DesignExhibition #ArchitecturalDesign #FurnitureDesign #ArtAndDesign #InteriorDesign #Craftsmanship

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