Atelier Felix expands within Oslo's iconic Kunstnernes Hus

Porto-based architecture studio Fala Atelier undertook a significant renovation of a 60-square-metre apartment located in a historic tile-clad building in downtown Lisbon. The project, named Príncipe Real Apartment, was led by Fala Atelier co-founders Filipe Magalhães and Ana Luisa Soares. The primary objective of the renovation was to transform a cramped and spatially disorganised flat into a bright, open-plan living space. The initial state of the apartment was characterized by an erratic spatial system, with interior walls creating a tightly packed and inefficient layout. The architects decided to completely remove all existing interior walls, effectively gutting the apartment to establish a clean slate. Following this demolition, only two new partitions were introduced, allowing for a largely open-plan configuration that dramatically altered the flow and perception of space within the flat. A key design intervention involved the strategic relocation of living spaces. The architects moved the primary living and dining areas from the north side of the apartment to the south, thereby maximising access to natural light and offering enhanced views of the city from the small, enclosed balcony. This reorientation not only improved daylighting but also capitalized on the apartment's urban context. The redesigned layout incorporates mirrored and glass sliding doors, which play a crucial role in enhancing the sense of openness and light. These doors connect the central living and dining space to bedrooms and bathrooms positioned on either side. The reflective surfaces of the mirrored doors contribute to the illusion of a larger space and help distribute light throughout the interior. The balcony, featuring two glazed sides, was conceived as a direct extension of the living room, seamlessly integrating indoor and outdoor areas through two doorways and an adjoining white brick wall. Material choices further contribute to the apartment's aesthetic and functional improvements. The floor in the main living area is adorned with black and white patterned tiles, a design choice that subtly references the decorative facade of the building itself. Bright white paint was used extensively on both walls and ceilings throughout the apartment, creating a neutral and expansive backdrop. This 'clear canvas' approach allows for a curated selection of furniture pieces, which are treated as independent objects within the space, to stand out. Custom-designed furniture elements add character and functionality. A deep green sideboard, featuring a tessellating geometric print, is positioned in the living space, serving as a preparation area adjacent to the kitchen. In one of the bedrooms, a chest of pale-blue drawers with a diamond pattern cut into its surface provides both storage and a decorative accent. The apartment's previous layout included a windowless bedroom in the centre, which lacked views. This was rectified by re-situating both bedrooms side-by-side across the north facade, with the master bedroom gaining French doors that open onto a small balcony. The project effectively addressed the spatial deficiencies of the original flat, creating a modern, light-filled, and functionally superior living environment through thoughtful demolition, reorientation, and strategic material and furniture selections. #ApartmentRenovation #LisbonArchitecture #OpenPlanLiving #InteriorDesign #FalaAtelier #ResidentialArchitecture #SpaceRedesign #ModernInteriors

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 project "Knowing the Ropes," initiated by designers Brynhildur Pálsdóttir, Þuriður Rós Sigurþórsdóttir, and Theresa Himmer, delves into the ubiquitous nature and varied applications of rope, challenging conventional perceptions of this utilitarian material. This artistic endeavor explores the cultural and structural significance of rope within a Scandinavian context, specifically focusing on its dual existence in interior design and maritime industries. The designers utilize two historical production facilities, Hampiðjan in Reykjavík, Iceland, and Aarhus Possementfabrik in Denmark, both established in the early 20th century and employing similar machinery. These facilities represent the divergent paths of rope production: one for marine use and the other for interior textiles. The core of the project lies in highlighting the unexpected aesthetic and functional intersections that arise when examining a material with such diverse applications. The genesis of "Knowing the Ropes" dates back to 2017. Over time, the project evolved from its initial conceptualization into a comprehensive body of work, culminating in a publication and an exhibition featuring objects and video installations. The initial exhibition was held at the Reykjavík Art Museum in 2021, showcasing the designers' innovative interpretations and creations. The artists further developed their project by presenting an evolved version at the Hallwyl Museum in Stockholm. This particular venue, a meticulously preserved Victorian home from the turn of the 20th century, provided a unique juxtaposition for the contemporary design pieces. The museum's ornate and traditional environment offered a striking contrast to the modern and unconventional objects crafted from rope, creating an unexpectedly modern aesthetic within a historical setting. The exhibition features a range of objects that reimagine the use of rope in everyday items and art installations. These pieces include floor lamps with rope-wrapped bodies and exposed light bulbs, demonstrating how rope can be integrated into lighting design to create a distinctive texture and form. Pedestals made entirely from rope showcase the material's structural capabilities and its potential as a sculptural element. A standing round mirror, framed and supported by intricate rope work, highlights the material's versatility in creating decorative and functional home furnishings. A modern three-legged table also utilizes rope in its construction, presenting it as a primary material rather than a mere accent. Additionally, arch-shaped shelving units, crafted with rope netting, illustrate innovative approaches to storage and display. Through these creations, Pálsdóttir, Sigurþórsdóttir, and Himmer prompt viewers to reconsider the inherent qualities of rope and its potential for artistic and design expression. The project not only celebrates the craftsmanship and heritage associated with rope making but also pushes the boundaries of how textiles can be perceived and utilized in contemporary design. The juxtaposition of modern designs with a historic setting further emphasizes the timeless appeal and adaptability of this fundamental material, inviting a deeper appreciation for the overlooked elements of our material world. #TextileArt #RopeDesign #ScandinavianDesign #MaterialExploration #ContemporaryArt #ExhibitionDesign #InteriorFurnishings #DesignInnovation

This article details a unique mini-home, listed on the luxury home rental brand Plum Guide, which operates as a floating artist studio on the Spree River in Berlin. The structure was entirely hand-built by its owner, Claudius, with the intention of providing guests a serene environment to connect with nature, offering an alternative lifestyle away from the urban bustle of Berlin. The Plum Guide describes the experience of waking up in this houseboat as akin to opening one's eyes to an 'urban utopia.' Inside the compact floating home, a skylight is strategically placed above the platform bed, allowing occupants to gaze at the stars as they fall asleep. The exterior deck is equipped with an herb garden, a BBQ grill, and a sound system, enhancing the outdoor living experience. The interior features a fully equipped kitchen, a curated collection of books, and a portable Wi-Fi router. The decor, characterized by lively plants and hanging light bulbs, presents a mid-century aesthetic suitable for a wide range of visitors. The construction of the floating home emphasizes sustainability and craftsmanship, incorporating handcrafted furnishings and being built upon 200-year-old wooden panels. This design choice caters to environmentally conscious guests seeking a unique stay. It is important to note that the 'floating island' is not presented as a luxurious escape in the traditional sense, as it includes practical amenities such as a dry compost toilet and a shared sink for both the bathroom and kitchen areas, highlighting its rustic and eco-friendly ethos. The mobile nature of the house allows it to adapt to different seasons and environmental conditions. During the summer months, the house is anchored in the middle of a lake, offering a distinct waterside experience. In contrast, for the winter season, it is stationed on the outskirts of Friedrichshain, providing a different perspective of its Berlin surroundings. This adaptability ensures a varied experience for guests throughout the year. Plum Guide, the platform offering this unique rental, provides a selection of curated vacation homes across various locations, including the U.S., Europe, England, and Tel Aviv in the Middle East. The article positions this floating artist studio as an appealing option for those seeking an unforgettable and environmentally conscious getaway, promising an experience that blends natural immersion with urban proximity. The detailed description of the amenities and the unique characteristics of the home suggest a focus on a mindful and distinctive travel experience. #FloatingArchitecture #ArtistStudio #Berlin #HandBuilt #EcoFriendlyLiving #MiniHome #SustainableDesign #PlumGuide #Houseboat

This article details the transformation of a former San Francisco warehouse into a raw yet refined living space and art studio for art dealer Francis Mill. Collaborating with designer Stephan Jones, Mill sought to create an environment that embraced the building's industrial past while providing a flexible and functional backdrop for his extensive art collection. The 1,200-square-foot loft, originally a pharmaceuticals warehouse from 1937, boasted 11-foot ceilings and raw wooden door frames, which were preserved and highlighted. The design philosophy centered on incorporating the space’s idiosyncrasies, such as original Y-shaped concrete columns, and creating uninterrupted vistas often punctuated by sculptures and defined by curtains. Recognizing Mill's tendency for frequent art and furniture rearrangements, Jones designed many elements to be modular and flexible. This included “anchor zones” with stationary furniture, like a minimalist wooden banquette and daybed in the living room niche, and low-profile pieces to maintain clear sight lines. A pivoting blackened-steel door serves both as a focal point and a space divider, while a built-in steel bookcase with staggered black-painted wooden boxes pays homage to sculptor Louise Nevelson. Jones and Mill intentionally enhanced the loft's industrial character by further chiseling the pitted concrete walls, moving away from a previous attempt to polish them. This approach aimed for a more soulful space that would serve as a versatile setting for Mill's evolving art collection, aligning with his philosophy of continuously engaging with art rather than seeing a space as 'finished.' The once-large, open kitchen was reconfigured into a discreet galley kitchen. An initial hesitation from Mill about adding a dropped ceiling led to a compromise: a partial ceiling that exposes a structural pillar and concrete, emphasizing the building’s original texture while delineating the space. The kitchen’s lack of natural light was creatively leveraged, allowing for the display of delicate works on paper and the installation of a projection screen. In the master bedroom, a conventional sliding-door closet was replaced with an art-inspired concept for wardrobe storage. Mill describes it as a 'Donald Judd–style plywood box' crashing into the bedroom, fitted with steel shelving for shoes, often left open. Throughout the home, unexpected details contribute to the space's unique charm, such as flat files in the art studio containing white Legos, a feather collection, and sand, which Mill refers to as his 'urban sandbox.' Even massive works, like a floor-to-ceiling black steel sculpture by Brian Wall, offer intimate details due to the human-scaled proportions of the space. The design reflects a continuous work in progress, embodying Mill's dynamic approach to living with art. #WarehouseConversion #LoftDesign #ArtGalleryHome #SanFranciscoInteriors #IndustrialChic #ModularFurniture #StephanJonesDesign #FrancisMill #ArtCollectionDisplay

The Sonoma-based interior design firm Hommeboys, led by Alex Mutter-Rottmayer and Austin Carrier, has opened a new studio and launched three new capsule collections for their furniture line, Haus of Hommeboys. The firm is known for its thoughtful design approach and hands-on craftsmanship, blending classic Wine Country aesthetics with a modern, refreshing twist. Mutter-Rottmayer and Carrier, who have been married since 2019, have previously garnered acclaim for their designs in projects such as Healdsburg’s Marine Layer tasting room and Sonoma’s Valley Bar + Bottle restaurant. The new studio, which also houses a woodshop and cabinetry studio, is situated just off the plaza in downtown Sonoma. This expansion represents a significant step for the Hommeboys, fulfilling a long-held ambition to establish their own showroom. Mutter-Rottmayer expressed a mix of excitement and apprehension about the venture, acknowledging the risk involved in showcasing their unique design vision to a wider audience, but emphasizing their consistent desire for a dedicated space. The Hommeboys’ design philosophy is characterized by an emphasis on mixing materials and incorporating organic and natural elements. They experiment with various shapes in plaster, stone, and wood, aiming for a look that is both earthy and deeply connected to the Californian landscape. This approach is reflected in their furniture line, which features organic and natural materials. One of their new capsule collections for Haus of Hommeboys draws inspiration from rustic themes. This collection includes dark, ebony-stained, hand-notched cedar furniture, designed to evoke a raw, rustic, and edgy feel. The shapes within this collection are described as anthropomorphized, influenced by the golden hills of California. The design process at Hommeboys is driven by creativity and a desire to have fun. Alex Mutter-Rottmayer highlighted an instance where green velvet from a photo shoot was spontaneously used to cover a bedroom’s walls, illustrating their adaptive and playful approach to design. This method emphasizes utilizing available resources and embracing unexpected inspirations to shape their distinctive interiors. #InteriorDesign #Sonoma #DesignStudio #FurnitureDesign #HausOfHommeboys #WineCountryDesign #OrganicDesign #Craftsmanship

The Shed, located in New York, United States, is a non-profit cultural organization dedicated to commissioning, developing, and presenting original works of art across various disciplines for diverse audiences. Completed in 2019, the building, known as the Bloomberg Building, was designed by Diller Scofidio + Renfro in collaboration with Rockwell Group. The facility spans an area of 18,500 square meters and is notable for its physical adaptability, engineered to accommodate a wide range of artistic endeavors. The Bloomberg Building features an eight-level base structure. This base includes two dedicated levels for gallery space, providing ample room for art exhibitions. Additionally, it houses the versatile Griffin Theater, designed to host performances and events. The upper levels of the base are home to The Tisch Skylights, which encompass a rehearsal space, a creative lab for local artists, and a skylit event space, offering flexible areas for artistic development and public engagement. A key architectural feature of The Shed is its telescoping outer shell. This shell can be deployed from over the base building and glides along rails onto an adjoining plaza, creating an expansive outdoor performance area known as The McCourt. This innovative design allows the building to physically transform, effectively expanding its footprint and capacity to host large-scale performances, installations, and events, responding dynamically to the needs of different artistic presentations. The project involved a comprehensive team of consultants and specialists to bring its complex design to fruition. Diller Scofidio + Renfro served as the lead architects, with Rockwell Group collaborating on the architectural design. Key consultants included Thornton Tomasetti for structural design, facade engineering, and kinetic engineering services, highlighting the intricate movable structure. Jaros Baum & Bolles handled MEP and fire protection, while Vidaris provided energy modeling consultation. Lighting design was managed by Tillotson Design Associates, and acoustic consultation by Akustiks. Construction management was overseen by Sciame Construction. Vertical transport consultants Van Deusen & Associates contributed to the building's internal logistics. Specialized consultants for the kinetic systems included Hardesty & Hanover, and Fisher Dachs Associates served as theater consultants, ensuring the functionality of the performance spaces. Cimolai was the structural steel fabricator, and Vector Foiltec fabricated the ETFE (Ethylene TetrafluoroFluoroethylene) material used in the outer shell. Additional expertise was provided by Code Consultants Inc. for building codes, Ducibella Venter & Santore for security, Entek Engineering for facade maintenance, James R. Gainfort for waterproofing, and Construction Specifications Inc. for specifications. Graphic design and wayfinding were handled by Other Means. The project's photography was primarily captured by Timothy Schenck, documenting the building's exterior and interior spaces. #CulturalArchitecture #ExhibitionCenter #NewYork #DillerScofidioRenfro #RockwellGroup #KineticArchitecture #PublicArtSpace #ArchitecturalInnovation #BuildingTransformation

The Vestibule, an art gallery in Ballard, Seattle, has reopened in a new location, evolving from its original concept as a live/work space that doubled as an Airbnb. Created by Kascha Semonovitch and John Snavely, the initial Vestibule combined an art gallery with a short-term rental. This unique model allowed guests to "live within the art" and provided a sustainable funding mechanism for exhibitions through Airbnb rental fees. Semonovitch and Snavely emphasized their commitment to "public life," choosing to invest in a shared art space rather than a private collection, focusing on exhibiting art not confined to material, possessable objects. The original Vestibule, known for its vibrant art openings, required Semonovitch to frequently transform the space from a gallery to a more conventional Airbnb setting within a tight 24-hour window after each show. This demanding process involved removing furniture, painting, installing art, and then reverting the space back for rental guests. The decision to transition to Vestibule 2.0 was driven by the desire to continue supporting artists in North Seattle while eliminating the logistical challenges of the dual-purpose space. The new Vestibule 2.0 is located at the corner of 15th Ave NW and NW 60th St. While it no longer includes an Airbnb component, the larger space offers an expanded canvas for artists and allows Semonovitch to host more exhibitions. A distinctive feature of the new space is the "banana art" in the bathroom, an idea that originated from Semonovitch's six-year-old child and has since evolved into a humorous commentary on art and commerce, complete with a Spotify playlist of banana-themed songs. Semonovitch, also a writer and poet, actively seeks out visual artists for future collaborations. She discovers new talent by attending various art shows at galleries, schools, and organizations like 4Culture, and maintains a keen interest in artists she admires and their subsequent work. She has recently conducted numerous studio visits and expressed interest in showcasing installations by Tyna Ontko and Jia Jia, as well as collaborating with Michael Swaine of Futurefarmers. Demonstrating a commitment to democratizing access to the art world, Semonovitch issues open calls for submissions, such as the upcoming "carbon" exhibit. She believes that small galleries like Vestibule play a crucial role in providing opportunities for artists. Semonovitch also contemplates an exhibition exploring the intersection of faith and art, noting how many artists, particularly in a secular city like Seattle, have complex relationships with religious upbringings or spiritual practices that influence their work, even if these topics are often unspoken within the art community. Vestibule 2.0 commenced its new chapter with "Dinner with Agnes Martin," a group exhibition featuring artists such as Amanda Salov, Emily Gherard, Emma Royer, Ilana Zweschi, Lakshmi Muirhead, Season Evans, and Sharon Arnold, characterized by its textual and textural depth. The upcoming exhibition, Allyce Wood's "Soft Systems," will feature tapestries and open-studio weaving hours. Semonovitch draws inspiration from previous influential Seattle galleries like True's Western Bridge, Lawrimore Project, and The Alice, and acknowledges contemporary venues like Greg Lundgren's Museum of Museums, positioning Vestibule as a significant contributor to Seattle's current art scene. #ArtGallery #SeattleArt #Ballard #KaschaSemonovitch #JohnSnavely #ArtistCollaboration #Exhibition #CommunityArt #LocalArtScene

In Fairfax, California, ceramicist and Pilates instructor Annalisa Chasan and general contractor Alex Martin transformed a large, unused grass yard on their double lot into a functional accessory dwelling unit (ADU) during the pandemic. The couple sought a dedicated space for Annalisa's sculpture practice, previously confined to the main house's basement, and for hosting private Pilates classes. This dual-purpose brief was presented to Obata Noblin Office (ONO), a San Francisco-based architecture and design firm cofounded by Tyler Noblin and Max Obata. The architects approached the design by focusing on orientation, strategically angling the building around an existing magnolia tree. This created a boomerang shape that naturally divides the art and workout spaces while also forming an interior courtyard with the main house. The ceramics workspace features large sliding glass doors that open to the landscape, providing Annalisa with a visual connection to her family. On the street-facing side, a row of clerestory windows, custom-made in Sacramento with powder-coated yellow aluminum frames, allows afternoon sunlight to flood the space. The entire window set, a significant design element, cost $55,000. Noblin and Obata drew inspiration from precedents such as Ryōan-ji, the rock viewing garden in Kyoto, to emphasize views of nature. The Pilates area, similarly, incorporates floor-to-ceiling panes to capture the morning sun, fostering a meditative atmosphere. The homeowners' specific design requests included post-and-beam construction, the distinctive bright-yellow windows, and decks with overhangs. Functionality was also paramount for each internal area. The sculpture studio required a robust sink, integrated into a 12-foot-long zinc countertop, an easy-to-maintain plaster floor from EcoStucco, a dedicated kiln nook, and display areas for Annalisa’s artworks. The Pilates studio needed ample natural light, wood flooring, and space to accommodate a Pilates wall unit and floor mats. These distinct functional requirements informed the unique ambiance of each space. The Pilates studio was designed with neutral tones to create a quiet, intimate, and relaxing experience, while the art space is energetically separate, featuring pops of color in its built-ins and freestanding furniture. A folding screen door physically divides these two zones, but a continuous tongue-and-groove bleached wood ceiling unifies the overhead space. The exterior features cedar shingles on the street-side facade, chosen to blend with the neighborhood's vernacular and the main house's 1912 architecture, with the lemon-hued window frames offering a vibrant contrast. The architects aimed to imbue the ADU with an element of surprise, noting how the building’s personality shifts as one moves around the courtyard. Max Obata, whose mother was also a ceramic artist, expressed a personal connection to designing the light-filled studio for a working artist. The ADU also offers practical versatility, with a tadelakt-clad three-quarter bath designed to serve the Pilates studio but also capable of supporting future use as a guesthouse. A small room off the ceramics wing can be easily converted into a bedroom, and bespoke blue cabinetry provides multifunctional storage, seating, and shelving. Annalisa describes the building's geometries as special and inspiring, fostering a significant burst of creativity for her work. #ADUDesign #CreativeSpace #ArchitecturalDesign #FairfaxCalifornia #ObataNoblinOffice #PilatesStudio #CeramicsStudio #CustomWindows #SustainableDesign

The article details a collaborative campaign between Swedish fashion brand Totême and interior designers Halleroed, which uses a series of perspective-shifting images and 3D installations to celebrate their home city of Stockholm. Totême founders Elin Kling and Karl Lindman conceived the campaign with a strong focus on the geography and introspection afforded by their city, aiming to integrate fashion, lifestyle, and architectural elements. The campaign features photographs by Mikael Jansson, a renowned photographer admired by Totême for his work with luxury brands like Chanel, Brioni, and Dior. Jansson's contribution involved documenting an imagined day in Stockholm, capturing scenes such as a model dining at Teatergrillen, shopping at Hötorget market, and architectural facades, including Totême’s design studio. The collaboration with Jansson was facilitated by the restrictions that kept the creative team within Stockholm, which, according to Lindman, enhanced the campaign's value by utilizing local talent. Halleroed, long-term collaborators with Totême, were responsible for the 3D installations. Known for their sleek, materiality-focused retail spaces for brands such as Acne Studios and Byredo, Halleroed previously designed Totême's Art Deco-centric townhouse and its graphic space in Nordiska Kompaniet. Their affinity for Swedish materials is highlighted, and their architectural expertise was crucial in translating Totême's vision into physical manifestations. For this campaign, titled 'A Stockholm Story,' Halleroed constructed two-meter-high cuboid plinths using scarlet steel tubing. Elin Kling explained that the vibrant red tone was chosen for its elegance, contrasting effectively with Jansson's signature monochrome photography and offsetting the typically gloomy late summer Stockholm skies when the images were shot. This choice enhanced the industrial feel of the constructions while providing a visual pop. The campaign serves to emphasize Totême's distinct design cues and its deep connection to Stockholm. The article suggests that by showcasing elements of the city, from its scenic waterfront to its archipelago, Totême invites its audience to stylishly trace a route through the Swedish capital. This strategic use of local talent and a city-centric narrative aims to reinforce the brand's identity and its strong ties to its origins. #Fashion #Design #Stockholm #Toteme #Halleroed #MikaelJansson #Campaign #Collaboration #InstallationArt

Netjets, a private jet airline, has maintained a 16-year partnership with Art Basel, consistently unveiling collaborative projects at the fair. This year's iteration featured a bespoke installation by Swedish artist Frida Fjellman within the Netjets collectors' lounge. Fjellman's contribution, titled 'Crystal Atmosphere,' brought a new spatial interpretation to her signature blown glass lanterns. These lanterns, first showcased in a solo exhibition in 2015, have since evolved into various colors and sizes, all retaining their distinctive mouth-blown glass and metal components. They are presented both as individual pieces and as elaborate chandelier-like clusters. Fjellman's artistic journey with these lanterns involved a two-year development period in collaboration with The Glass Factory, an art glass producer situated in Boda, a small village nestled within Sweden's forests. The artist initially conceived these lamps not for traditional beauty or utility, but to evoke the impression of exaggerated, somewhat unconventional jewelry—beautiful yet intriguing. The unexpected popularity of these pieces has been a point of interest for Fjellman. The lanterns gained significant attention when they were displayed at Design Miami/ in 2016 as part of a large-scale installation by Hostler Burrows. This exposure captured Netjets' interest, leading to the current collaboration. For the Art Basel lounge, Fjellman was granted complete creative freedom. Over a period of four months, she developed her largest installation of these works to date, comprising 100 lanterns in a spectrum of shades and sizes. This project also involved the creation of a new large-scale piece that pushed existing production boundaries. The installation within the lounge featured the lanterns suspended from the ceiling in color-coordinated clusters. The lighting of these pieces was designed to be discreet, with lights slowly fading in and out, mimicking a breathing pulse. Fjellman's stated intention for the 'Crystal Atmosphere' installation was to cultivate a serene environment, providing a calming respite from the often-hectic atmosphere of the art fair. 'Crystal Atmosphere' underscores Netjets' ongoing commitment to the arts. Previous artistic collaborations by the private aviation company include projects with the art/design duo Snarkitecture and British artist Rebecca Louise Law. Fjellman reflected on the inspiration behind her installation, noting her interest in the almost magical sense of tranquility experienced during flight above the clouds, likening it to a rare oasis of calm in an increasingly hyper-connected digital world. #ArtBasel #Netjets #FridaFjellman #InstallationArt #BlownGlass #DesignMiami #CrystalAtmosphere #ContemporaryArt #ArtCollaboration

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

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

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

Studio Job, known for its distinctive bold style, has undertaken a comprehensive redesign of the Luxembourg offices of asset management firm Creutz & Partners. This project, titled ‘Always Close’, represents a departure from their usual product, installation, and interior designs, marking their first foray into designing a bank. The installation encompasses four floors of the firm’s 19th-century building, situated in the heart of Luxembourg’s old town. The designers have not only created a functional workspace but have also conceived it as a holistic conceptual artwork, integrating more than 100 new original design pieces and artworks throughout the building. The scope of the project includes various spaces such as an office, a conference room, a shop, and a client meeting area. Each room has been meticulously designed by Studio Job, with every detail from floor to ceiling reflecting their signature aesthetic. This immersive design approach provides a broad overview of their artistic vision while simultaneously offering an irreverent commentary on the influence of money. This thematic exploration is evident in elements like curtains patterned with dollar signs and a carpet shaped like a coin, directly linking the design to the financial core of the client's business. Job Smeets, one half of Studio Job, emphasized the collaborative nature of the project, noting that Creutz & Partners allowed for significant creative freedom, enabling the designers to push boundaries without creative restrictions. He stated that every visual element within the installation is intrinsically connected to the concept of money, which is the fundamental aspect of the firm’s operations. The exterior of the building also showcases Studio Job’s creative energy, featuring a unique composition of elements such as heraldic flags, lightboxes, planters, neon lights, and a handcrafted golden 'Creutz & Partners' sign, transforming the façade into an artistic statement. The ground floor houses a lobby designed to resemble a shop. This space is not accessible to the public but functions as an art installation. The title ‘Always Close’ carries a dual meaning in this context: it refers to the intimate nature of this private art installation and also symbolically alludes to the business concept of 'closing a deal' in the financial sector. Smeets described this project as a unique opportunity to create a functional interior that seamlessly blends art, design, object, and function. He further elaborated that every piece within the installation is custom-made and unique, collectively forming a 'portrait' that reflects both Studio Job’s artistic identity and the client’s corporate essence. The article includes several illustrations that showcase the vibrant and eclectic interiors of the ‘Always Close’ installation. These images highlight the diverse design elements, such as a burger-shaped chair, a rock-shaped coffee table, a bar counter adorned with flame prints, a teddy bear on a side table, and a swirling black and white floor in one room. Other visuals depict a hot dog-shaped sofa, patterned chairs, a glass coffee table, a street lamp-shaped floor lamp, a lounge area with a leopard print sofa, a blue chair, an oval glass coffee table, a tree-shaped side table, a dartboard-patterned rug, and colorful patterned wallpaper. Additional images feature a dining area with a glass table, a white cupboard with a red heart, a money-print rug, a cigar-shaped hanging light, a wall with bull and lion head patterns, chair-shaped coat hangers, a tree trunk-shaped coffee table, skull-shaped chairs, a doorway with a nose decoration and multi-colored lights, a bathroom with lion and bull heads on a blue wall, a toilet with a gold seat and cleaner, and doors with diagonal yellow and black lines or red and white arrows. These images collectively underscore the bold, imaginative, and thematically rich design approach of Studio Job in this project. #StudioJob #DesignInstallation #Luxembourg #CreutzAndPartners #AssetManagement #ConceptualArt #InteriorDesign #FinancialTheme #ArtAndFunction

Nordic Nest, an e-tailer established in 2002, has cultivated a distinctive niche in the Scandinavian interior design market by prioritizing storytelling and brand building. Unlike typical online retailers, Nordic Nest offers a curated experience that allows customers to explore and engage with Scandinavian design at their own pace. The platform serves as a primary destination for enthusiasts of Scandinavian interior design, emphasizing functional simplicity and timeless beauty, and is expanding its efforts to enhance the global visibility of Scandinavian design. The company's extensive catalog features over 60,000 Scandinavian design products from more than 300 brands. The selection is meticulously curated, highlighting craftsmanship and artistic expression. Nordic Nest supports a diverse range of creators, from emerging talents to established designers, providing year-round assistance through marketing collaborations, exclusive product launches, and international outreach. This commitment extends beyond transactional relationships, focusing on showcasing each studio's unique craftsmanship and innovative techniques through various channels, including digital campaigns, curated showcases, and events, thereby popularizing Scandinavian design globally. During the 2025 Stockholm Design Week, Nordic Nest hosted an intimate dinner at Stockholm’s Nationalmuseum, bringing together leading Scandinavian design brands such as Fritz Hansen, Iittala, Louis Poulsen, Gärsnäs, and Audo Copenhagen. This event celebrated both the enduring traditions and contemporary innovations within Scandinavian design, underscoring the company’s dedication to providing brands with a platform for increased visibility and recognition beyond the Nordic region. Among the highlights of the event was the unveiling of Iittala’s Solare collection, a new tableware line inspired by light. This collection, which includes glassware, textiles, and home accessories, captures the interplay of brightness and form, continuing Iittala’s legacy of avant-garde design and colored glass since its founding in 1881. Danish brand Audo also introduced the Pavot Collection, a collaboration with designer Colin King. This collection, featuring artfully crafted vessels like the Pavot Centerpiece, Bowl, and Vase, draws inspiration from the organic shape of a poppy seed head, blending ancient influences with modern craftsmanship. Each piece is cast in aluminum and finished with a brown bronzed patina, embodying a timeless yet contemporary aesthetic. Through these initiatives, Nordic Nest reinforces the notion that Scandinavian design is rooted in careful attention to detail and a profound sense of connection. #ScandinavianDesign #InteriorDesign #NordicNest #ECommerce #DesignRetail #BrandBuilding #DesignEvents #FurnitureDesign #HomeDecor

The search for compelling interior design stories is an ongoing endeavor for T Magazine's staff, with the director of design and interiors, Tom Delavan, primarily responsible for finding residences to feature. However, story pitches can come from various sources, including publicists, architects, interior decorators, writers, and photographers. The most exciting discoveries often arise through more serendipitous means, such as word-of-mouth recommendations or accidental encounters, a dynamic that has become an internal office joke where editors are encouraged to inquire about interesting houses during any meeting. A particularly noteworthy discovery occurred when editor-at-large Nick Haramis was researching artist collectives. He learned about a group of recent art-school graduates who were not only conceptualizing unique, unconventional furniture and decor but were also actively producing these items themselves. This collective, known as Espace Aygo, transformed a dilapidated building in a bustling Brussels neighborhood into their shared living and working space, where they crafted nearly every element of their home, including a sink fixture made from a pétanque ball and a bathtub from urethane rubber. While the initial artist collectives story never materialized, the scouting photographs of Espace Aygo immediately revealed its potential as an unforgettable home story for the magazine. This discovery is particularly significant in an era characterized by often overly polished interior design, where a homeowner's personal style can be overshadowed or even dictated by their decorator. Espace Aygo serves as a powerful reminder that a home achieves true memorability not through adherence to conventional politeness or perfection, but by expressing a distinct point of view and showcasing the creative effort of those who inhabit and shape it. It underscores the idea that creating a unique and personal living space does not necessarily require substantial financial resources, but rather demands perspective, imagination, and a commitment to authentic self-expression in one's environment. The author expresses a personal affinity for Espace Aygo's aesthetic, indicating a willingness to reside there. Even for those who may not share this specific taste, the collective's inventiveness, resourcefulness, and imaginative spirit are undeniable. Ultimately, these qualities are presented as the fundamental components that truly define and enrich a home, highlighting the value of individuality and creativity over conventional design standards. #InteriorDesign #HomeDecor #EspaceAygo #ArtistCollective #DIYDesign #Brussels #CreativeLiving #UnconventionalHomes