Sarah Baeumler is a Doyenne of Design

Sarah Peake, founder and creative director of Studio Peake, shares insights into her distinctive interior design philosophy, influences, and showcases three notable projects. Peake's journey into interior design began with an interest in textiles and pattern cutting, followed by foundational experience with renowned designers Alidad and Todhunter Earle. These early experiences instilled in her the importance of meticulous detail and the ability to manage large-scale international projects, shaping her holistic approach to design. Peake's design ethos emphasizes the contextual relevance of each interior, steering away from a fixed style. Instead, she advocates for a collaborative vision that integrates her creative input with the client's preferences and the inherent characteristics of the space. Her work often features bold use of color, diverse materials, and patterns, alongside a harmonious blend of contemporary and antique furnishings. A core principle is to ensure the space reflects the client's personality, and she finds creative inspiration when tasked with incorporating existing client possessions or adhering to specific color constraints, believing that such limitations can foster artistic innovation. Inspiration for Peake is drawn from a myriad of sources, including clients, the architectural context, historical periods, and even natural landscapes. She maintains an extensive library of books for research and frequently captures visual cues from her surroundings. Her typical color palette leans towards blues and greens, often warmed with wood, yellow, or gold tones, which she finds relaxing and neutral, particularly suitable for bedrooms and bathrooms. However, she stresses the importance of variety, ensuring that while certain colors anchor a design, others are introduced to create dynamic schemes. Material selection focuses on natural elements such as wood, linen, and bouclé wool. She appreciates the versatility of stone, from Italian marble for a luxurious feel to English limestone for rustic charm. Her designs are further enriched by the strategic use of contrast, juxtaposing natural textures with vibrant lacquers and brass accents. Finishing touches are crucial to Peake's designs, frequently incorporating items like curly Gotland sheepskins or richly textured bouclé, either as upholstery or cushions. Swedish flatweave rugs are another signature element, with Peake actively seeking original pieces or commissioning new ones from traditional Swedish factories. Beautiful ceramics, particularly organic shapes with unique glazes, are also a passion. For Instagram inspiration, she recommends following Studio Giancarlo Valle, Pierre Yovanovitch, and Meta Coleman. Peake highlights three key projects that exemplify her work. The Parsons Green house involved transforming a blank canvas with Victorian features into a contemporary yet layered family home, blending modern art with antique rugs and bespoke elements like a tiled fireplace. The master bedroom in this project features a calm palette with Edward Bulmer 'Celadon' paint and a Vanderhurd rug, while the guest bedroom showcases vibrant colors and custom-designed beds. The Vauxhall cottage project, her first solo endeavor, involved restoring a Georgian cottage, transforming an industrial aesthetic into a cozy, colorful home. This included a kitchen refresh with new limestone flooring, painted joinery, and antique handles, complemented by soft furnishings. The master bedroom in Vauxhall features 'Fencing Blue' paint, Pierre Frey fabric, and a pre-existing painting by Venetia Berry as a color anchor. The small box room was dramatically transformed into a bed nook, utilizing V-grooved MDF paneling, Edward Bulmer 'Fair Blue' paint, and Ottoline Devries wallpaper. Finally, the Barons Court apartment, an Edwardian mansion block flat, required a fresh, modern update while honoring its traditional elements. This project features a dramatic layout with a freestanding Water Monopoly bath as a focal point, a study with traditional panelling and a mid-century modern light fitting, and a bedroom with Lewis & Wood wallpaper and a mix of antique and contemporary furnishings. Each project demonstrates Peake's skill in blending diverse elements to create unique and personalized living spaces. #InteriorDesign #StudioPeake #SarahPeake #HomeDecor #DesignEthos #ColorPalette #MaterialSelection #RenovationProjects #LuxuryInteriors

Architect Mariam Issoufou discusses her design philosophy and recent projects, including the Rolex Pavilion at the Venice Architecture Biennale and the upcoming Bët-bi museum in Senegal. Issoufou, founder of Mariam Issoufou Architecture and a professor of architecture heritage and sustainability at ETH Zurich, emphasizes a research-led approach that prioritizes local contexts, craftsmanship, and sustainable practices. Her work spans various regions, with a notable focus on projects within the African continent and Europe. The Rolex Pavilion, commissioned for the Venice Architecture Biennale, was designed to reflect Rolex's identity while addressing Carlo Ratti's 2025 theme of adaptation to climate change. Issoufou's design for the pavilion showcases a commitment to local materials and artisan collaboration. The facade is constructed from recycled wooden beams sourced locally, and the interior features a translucent colored ceiling crafted by Murano glassmakers, which creates dynamic light effects. The terrazzo flooring incorporates recycled Cottisso crushed glass. Issoufou aimed to honor Venice's heritage of making and to demonstrate how recycled and local materials can be used effectively in high-profile projects, similar to her work in Africa where materials like recycled metal, earth, and cement are commonly employed. Her design process for the Rolex Pavilion began by considering the unique shape of Venice, a city divided by the Grand Canal, which inspired the form and exhibition spaces of the structure. The project also focused on collaboration across different intelligences and showcased resource efficiency. Issoufou expressed pride in seeing the pavilion come together through the work of local glass, metal, and woodworkers, highlighting the successful integration of traditional Venetian artistry with contemporary sustainable design principles. Issoufou’s practice is characterized by a consistent research-led methodology across all her projects. Instead of imposing a design, she first investigates the architectural history, climate, and vulnerabilities of a specific location. Following this, she identifies and engages with local makers and their existing knowledge and skills. This collaborative and context-driven research then informs the design process, ensuring that each project is uniquely tailored to its environment and community. This approach allows the questions she asks in her projects to remain consistent, while the solutions and outcomes vary based on the specific research findings. Sustainability, for Issoufou, is an intersectional concept that extends beyond mere ecological considerations. She integrates green standards with social, cultural, and economic upliftment for the communities involved in her projects. This holistic view ensures that her architectural interventions contribute positively to the broader well-being of people and places, preserving cultural heritage and fostering economic opportunities. Beyond the Rolex Pavilion, Issoufou is currently focused on the construction phases of two significant projects: the Bët-bi museum in Senegal and the Ellen Johnson Sirleaf Presidential Center in Monrovia, Liberia. The Bët-bi museum, commissioned by the Josef and Anni Albers Foundation and Le Korsa, will be a 1,000-square-meter center for contemporary and historic African art, also serving as a temporary home for repatriated objects. Its triangular form is inspired by the Indigenous Serer people's belief system, symbolizing the relationship between elements, the living, and the dead. The museum will be built into the landscape using sustainable, traditional materials with the help of local artisans, reflecting Issoufou’s commitment to culturally resonant and environmentally responsible design. The Ellen Johnson Sirleaf Presidential Center, where Issoufou is the lead architect, involves collaborations with Sumayya Vally and Karen Richards Barnes, further exemplifying her collaborative and community-focused design ethos. These ongoing projects underscore her dedication to creating spaces that are deeply rooted in their cultural and environmental contexts while promoting sustainability and community engagement. #Architecture #SustainableDesign #VeniceArchitectureBiennale #RolexPavilion #MariamIssoufou #CulturalHeritage #CommunityEngagement #AfricanArchitecture #LocalCraftsmanship

Atlanta-based designer Dawn Heuer, nationally recognized for her work on television shows like Netflix, Bravo, and HGTV, offers insights into her home design philosophy and essential items. As the founder and CEO of Heuer Design Collective, specializing in new construction and full-home renovations, and The Design House, her firm's retail establishment, Heuer advocates for creating spaces that foster joy and connection. Her design aesthetic is characterized by an approachable yet refined quality, emphasizing natural materials, muted earth tones, and quiet sophistication. This article highlights several key pieces that embody her signature style, each chosen for its ability to contribute to a comfortable and elegant living environment. Heuer begins with the Malta Chair from The Design House by HDC, describing it as an essential piece with creamy or oatmeal-toned linen, deep seating, and relaxed cushions. She notes that this chair sets a tone of soft, grounded comfort, which is central to her design theme. Following this, she introduces two coffee table options: the Sercy Coffee Table and the Winchester Coffee Table, both from The Design House by HDC. These tables are distinguished by their low-profile design, featuring a live edge or minimalist slab top. Available in medium oak or walnut finishes, they are selected to introduce an earthy contrast into a space. For wall treatments, Heuer suggests using grasscloth or a subtle clay-wash finish wallpaper for an accent wall. This choice, she explains, is meant to add depth and texture to a room, enhancing the overall sensory experience of the space. To further enrich the textile elements, she recommends Maxson Bolster Pillows from The Design House by HDC. These pillows, crafted from handwoven or boucle fabrics in rust, sand, or clay tones, are ideal for layering and introducing variations in comfort and color. The Aliza End Table, also from The Design House by HDC, is highlighted for its elegantly soft, hourglass-inspired silhouette and deep wood tones, which contribute an organic modernism to any room. Finally, Heuer discusses lighting with the Water Pot with Handles Table Lamp from The Design House by HDC. She suggests a sculptural lamp in a matte ivory or taupe glaze, valuing its ability to add artisan character and provide ambient light. Collectively, these selections illustrate Dawn Heuer's cohesive design approach, which prioritizes natural elements, soothing color palettes, and functional yet aesthetically pleasing pieces to create harmonious and inviting interiors. #InteriorDesign #HomeDecor #DesignEssentials #AtlantaDesign #HeuerDesignCollective #TheDesignHouse #NaturalMaterials #MutedTones #LuxuryInteriors

Draga Obradovic and Aurel K. Basedow, known as Draga & Aurel, are a design duo celebrated for their artistic approach to materials and composition, drawing influences from fashion to traditional craftsmanship. They are pioneers in upcycling, having started their journey by reinventing furniture and objects. An early open studio event, where people brought old furnishings for reinvention, quickly grew into a significant venture, leading them to establish Draga & Aurel in 2007. Their multidisciplinary studio and workshop focus on art, collectible design, and furnishings. Their debut at Milan Design Week two years later initiated collaborations with brands like Baxter, a partnership that continues to influence their design philosophy. According to Basedow, Baxter was instrumental in professionalizing their design approach. A significant milestone in their career was the launch of the Transparency Matters collection in 2019, which marked a departure from their earlier focus on vintage items and textiles. This collection utilizes resin as the primary material, valued for its interaction with light, and is continuously updated. Obradovic draws inspiration from everyday visual stimuli, capturing images to create mood boards that fuel her imagination. For their "Friday Five" feature, Draga & Aurel share five key inspirations. The first is artist Dan Flavin, whose work on light and color deeply resonates with their own. They admire his ability to transform a common object, the neon tube, into sophisticated art with a "maximalist" effect, despite its minimalist origins. They highlight a recent exhibition "Dedications in Lights" at the Kunstmuseum Basel, one of their favorite museums, and note a permanent installation in its yard. Secondly, they express their appreciation for Superduper, a "Made in Italy" brand from Florence known for its handmade hats. They are drawn to the brand's fresh, creative, and informal style, emphasizing that hats are essential accessories for both of them. Their third inspiration is Joseph Beuys, a German artist and sculptor and a significant figure in conceptual art. His quote, "Jeder mensch ein Künstler" (everyone is an artist), profoundly influenced their approach to painting and their belief in the universal expression of creativity. Beuys is also a reference point for expanding the meaning of art. The fourth point of inspiration is The Venice Venice Hotel. They describe Venice as a city that continually surprises them with its beauty. The hotel, housed in the renovated Ca’ da Mosto Palace overlooking the Rialto, is a synthesis of architecture, fashion, art, and design, showcasing influential avant-garde movements. It is an evocative place owned by the founder of Golden Goose. Finally, their fifth inspiration is their hometown, Lake Como. They find constant inspiration in this historic town, appreciating the peace, relaxation, and freedom the lake offers, particularly enjoying sailing and discovering hidden coves and villages. They feel fortunate to live in such a beautiful place. The article also showcases some of Draga & Aurel's works. The "Flare Collection," an exclusive project for Todd Merrill Studio, explores color and light refraction through Lucite, an acrylic resin. This collection is inspired by Jiyong Lee's study of color's three-dimensionality and Vasa Mihich's acrylic sculptures, focusing on the concepts of composition and breakdown of matter. It premiered at Design Miami in 2023. Their exhibition "Per Speculum in Aenigmate," in collaboration with Contemporary Cluster at Palazzo Brancaccio, Rome (2022), highlighted the dialogue between Aurel K. Basedow’s pictorial works and the duo's iconic design pieces. The exhibition title, drawn from a biblical passage, focuses on "mirror" and "enigma," reflecting their practice of material experimentation, artistic creativity, function, and aesthetics. The "Heritage collection" consists of one-of-a-kind upcycled pieces, born from their passion for vintage items. They collect original vintage furniture from thrift shops and markets, then reinvent them using techniques such as screen printing, embroidery, and resin covering, drawing from their backgrounds in fashion, textiles, art, and graphic design. Each item is restored in their Como atelier. Lastly, "The power of lighthearted design – Exhibition “Tinted Hues” at Nilufar, 2024" is a collaboration with Nilufar gallery, featuring a capsule of playful objects. This collection emphasizes resin, rounded shapes, and pastel shades, exemplified by their Bon Bon lamps, Dewdrops coffee tables, and Glaze table. #DragaAurel #DesignStudio #UpcyclingDesign #MilanDesignWeek #TransparencyMatters #DanFlavin #JosephBeuys #LakeComo #CollectibleDesign

Universal Design Studio (UDS), an architectural practice founded in 2001 by Edward Barber and Jay Osgerby, is celebrating two decades of groundbreaking work. Documented in their new book, 'Inside Out' (Phaidon), the studio’s success is attributed to its collaborative spirit, involving over 240 individuals throughout its history. Unlike traditional design firms that emphasize a singular artistic vision, UDS operates as an “experimental playground” where multiple thinkers contribute to a diverse portfolio of projects. These projects span retail spaces for luxury brands like Stella McCartney and Mulberry, hospitality ventures such as the Ace Hotel in Shoreditch and a cocktail bar for Fortnum & Mason, exhibition designs for the V&A Museum and Frieze Art Fair, and workspaces for IMB and Jimmy Choo. Barber and Osgerby initially established UDS to differentiate their architectural and interiors work from their product and furniture design studio. They recognized that while a multidisciplinary approach was common in Italy, it was less understood in the UK. This led them to create a new division focused on architecture and interiors, with a strong emphasis on collaboration. The studio maintains an egalitarian approach, where no single author dictates a project's direction. Instead, teams work collectively, valuing diverse perspectives to break new ground and challenge conventional thinking in each sector. UDS is also known for its commitment to reusing and repurposing existing buildings, prioritizing how spaces are utilized and how they serve their communities over demolition and new construction. Despite being an architectural practice, Osgerby notes that they primarily focus on interior and adaptive reuse projects rather than constructing new buildings from the ground up. Jason Holley, director of UDS, explains that the studio's principle is to work 'from the inside out,' focusing on human experience and the specific context of a building. This ensures that every design solution is tailored to its site and users, rather than adhering to a signature stylistic approach. Key projects illustrate UDS's impact. The Stella McCartney stores in New York and London, completed in 2003, were early successes, demonstrating the seamless integration of bespoke product, industrial design, and interior architecture. The custom-made tile used in these stores exemplifies the studio's philosophy of bringing the detail of furniture design to architectural spaces. In 2012, the interactive Google Web Lab at the Science Museum showcased UDS's ability to blend physical and digital worlds, creating an engaging space for technological exploration and storytelling. The Ace Hotel in Shoreditch, completed in 2013, marked a pivotal moment for both the studio and the surrounding neighborhood. UDS, despite having no prior hotel experience, embraced the challenge and collaborated closely with the Ace team. This project, which blended hotel functionality with local culture and casual workspace, became a significant contributor to the area's identity. This success led to a long-term partnership with The Office Group, for whom UDS designed Tintagel House and other workspaces. Looking ahead, co-director Paul Gulati identifies future areas of focus, including improving experiences in healthcare for the aging community and revitalizing high streets, leveraging their expertise in creating community-focused spaces. Mobility and electric vehicles are also areas of interest. Holley emphasizes the studio's goal of creating spaces that people deserve, seeking clients and collaborators who share their passion for openness and innovation. Osgerby reflects on the studio's core aim as recreating a 'campus atmosphere,' reminiscent of his time at the Royal College of Art, where interdisciplinary collaboration fostered productive and exciting exchanges of ideas. #UniversalDesignStudio #ArchitecturePractice #InteriorDesign #CollaborativeDesign #SustainableDesign #EdwardBarber #JayOsgerby #HospitalityDesign #RetailDesign

This article, the first in a 'Dial-a-Style' series, introduces Bauhaus design, exploring its historical context, key principles, and enduring influence on modern aesthetics. The Bauhaus movement, which originated in Germany in the early 20th century, emerged as a direct response to the excessive ornamentation of the Victorian era and the Arts & Crafts movement, which themselves were reactions to the mass-produced, often poorly designed, goods of the Industrial Revolution. Walter Gropius founded Das Staatliche Bauhaus in 1919 with a mission to integrate art, craft, and technology, promoting affordable, utilitarian, and aesthetically pleasing design accessible to all. The article highlights that the core philosophy of Bauhaus design, emphasizing functionality and working within material limitations, strongly resonates with the challenges faced by early web designers. Just as Bauhaus designers embraced cheaper materials and factory processes to create innovative products, early web designers learned to create compelling experiences despite strict limitations in fonts, imagery, layout tools, and screen sizes, a concept exemplified by CSS Zen Garden. Key figures instrumental to the Bauhaus movement included Johannes Itten, known for his theories on color and its psychological impact, and the creation of a 12-hue color wheel. Herbert Bayer's work on a 'Universal Typeface,' characterized by geometric simplicity, sans-serif design, and the absence of superfluous adornments, laid the groundwork for modern typography. Wassily Kandinsky, a painter and teacher, explored the interplay between forms and colors, suggesting that specific shapes and colors elicit particular emotional responses. László Moholy-Nagy, a Hungarian painter and photographer, championed a unitary vision of art, integrating various disciplines and pioneering 'typophoto,' a precursor to modern advertising techniques. The article outlines three primary rules for achieving the Bauhaus look: 'Form follows function,' emphasizing that design should prioritize utility over unnecessary ornamentation; 'Typography Matters,' highlighting the movement's innovations in simplified, sans-serif fonts and dynamic text layouts; and 'Geometry is King,' reflecting the Bauhaus love for clean, abstract, and geometric forms. This geometric approach aimed to break down objects into their fundamental shapes to create modern items, as exemplified by Marcel Breuer's Wassily Chair. The enduring impact of Bauhaus design is illustrated through modern examples like the website 'Identity Designed,' the branding for SXSW 2014, and the title sequences of films such as 'Catch Me If You Can.' The article concludes by addressing frequently asked questions about Bauhaus design, covering its key principles, influence on modern design, notable examples, leading figures, reasons for its closure, methods for incorporating it into home decor, its significance in design history, teaching methodology, impact on graphic design, and lasting legacy. #BauhausDesign #DesignMovement #ModernDesign #IndustrialRevolution #WebDesign #Typography #FormFollowsFunction #GeometricShapes #ArtAndTechnology #DesignHistory

Sarah Arora, Co-founder and Creative Director of Sansaar, a brand under D'Decor, discusses the evolving landscape of sustainable home textiles, emphasizing the brand's commitment to eco-friendly sophistication. Sansaar aims to merge luxury with sustainability by meticulously crafting premium home décor fabrics through ethical sourcing, minimal resource usage, and innovation, promoting mindful living. The home textiles industry is witnessing significant innovation in sustainable materials, with a shift towards organic fibers like cotton, bamboo, and hemp, as well as recycled options such as recycled polyester and upcycled fabrics. Despite these advancements, challenges to mass adoption persist, including low consumer awareness, higher production costs for sustainable materials, and a lack of standardized eco-certifications. To overcome these hurdles, the industry must prioritize consumer education and streamline processes to make sustainable choices both appealing and affordable. Consumer expectations in home décor are increasingly shaped by eco-conscious living, with a growing demand for sustainability, ethical sourcing, and durable quality over fleeting trends. Consumers seek products that resonate with their values, encompassing sustainably sourced materials, energy-efficient production, and brand transparency. Brands can effectively cater to this trend by demonstrating authenticity, providing clear and traceable supply chains, and transparently communicating their environmental impact. This approach allows brands to distinguish themselves in a competitive market while meeting the rising demand for eco-friendly home décor options. Sansaar's philosophy, 'luxury meets consciousness,' highlights the brand's belief that genuine luxury encompasses thoughtful design, understanding a product’s origin, manufacturing process, and environmental footprint. This balance is achieved by utilizing high-quality, responsibly sourced materials that offer both opulence and contribute to a sustainable future. Design innovation and conscious craftsmanship ensure Sansaar remains aspirational while upholding ethical and environmental responsibilities. The brand's latest collection draws influences from both global trends and India's rich design heritage. Indian heritage inspires timeless patterns, intricate motifs, and ancient weaving techniques, which are then reinterpreted with contemporary color palettes, refined textures, and versatile designs for modern global homes. While global trends guide contemporary aesthetics, Indian craftsmanship and cultural heritage provide the collection's distinct identity and depth, ensuring pieces are both timeless and fresh, celebrating Indian tradition in a relevant context. Sansaar is actively exploring future material innovations to enhance its eco-conscious offerings, planning to increase the use of recycled yarns, organic cotton, and BCI cotton in 2025. The brand is also introducing an 'Endurance' range of spill-safe, low-maintenance upholstery fabrics. Their long-term goals include reducing greenhouse gas emissions, increasing renewable energy usage, and implementing water recycling programs, cementing sustainability at the core of their evolution. To maintain durability, texture, and a premium feel in sustainable fabrics, Sansaar conducts rigorous testing in NABL-certified labs. These tests cover pilling resistance, colorfastness, lightfastness, and abrasion resistance, including Martindale Abrasion Resistance Tests and checks for tear strength and seam slippage, ensuring fabrics are durable, vibrant, and resilient. Education is crucial in convincing buyers that sustainability does not compromise luxury. Sansaar informs customers about the craftsmanship, material innovation, and ethical considerations of their products, demonstrating that eco-conscious textiles offer superior quality and an elevated experience. The brand has not yet partnered with external designers but is open to collaborations that align with its vision of conscious luxury and sustainability. Technology, particularly digital printing, is leveraged to enhance creativity and minimize environmental impact by enabling intricate patterns with less waste and using eco-friendly dyes. AI and digital weaving hold significant potential for the future of luxury home textiles. While Sansaar currently uses data and experience to align with customer preferences, they acknowledge AI's capacity to boost precision and efficiency. The rise of performance fabrics, especially easy-clean options, is transforming the industry by offering durability, convenience, and longevity without sacrificing aesthetics. The primary challenge in positioning Sansaar as a sustainable, high-end brand is overcoming the perception that sustainability implies a compromise in luxury. The brand addresses this by educating consumers that modern luxury is defined by thoughtful design, ethical sourcing, and lasting quality. Third-party certifications like GOTS and OEKO-TEX are vital in building consumer trust and combating greenwashing by independently verifying environmental and ethical claims. Navigating global supply chains and local artisanal demand involves hybrid models, combining global sourcing for raw materials with local craftsmanship for production, emphasized by transparency. Future trends in home textiles will be shaped by minimalist designs, a greater focus on sustainable materials, and the integration of smart textiles for enhanced comfort, energy efficiency, and durability. For Sarah Arora, luxury in today's conscious consumerism is defined by authenticity, sustainability, and responsible craftsmanship, where products tell a story and align with values, supporting sustainable living goals. #Sansaar #SustainableTextiles #HomeDecor #EcoConsciousLiving #EthicalSourcing #LuxuryFabrics #TextileInnovation #DigitalPrinting #IndianCraftsmanship

The article introduces Daphne Martino and Claudia Barroso, co-founders of M&B Design Studio, highlighting their journey into entrepreneurship as interior designers. Both women, having spent years assisting friends and family with design projects, decided to formalize their passion into a business once their children reached high school and college, providing them with the necessary time and space. Their motivation extends beyond personal ambition; they aim to set an example for their daughters, demonstrating that it is possible to pursue new career paths and achieve significant goals at any age. M&B Design Studio distinguishes itself through its commitment to honesty, transparency, and open communication with clients. This foundational trust is crucial for navigating design challenges and delivering spaces that are aesthetically pleasing and deeply meaningful to their clients. The founders emphasize that their path has involved considerable hard work and perseverance, acknowledging the inherent challenges and frustrations of the interior design industry. Despite these difficulties, they describe themselves as resilient, embracing both the positive and negative aspects of their work and striving to enjoy the process. Their families have been an integral part of their business, offering support with everything from physical help during installations to organizing project spreadsheets. This familial backing is presented as a key factor in their success. The studio prides itself on delivering thoughtful, timeless, and tailored designs that clients genuinely appreciate, reflecting their dedication to their craft. Beyond their professional lives, Daphne and Claudia share insights into their personal preferences and recommended activities in Miami. When friends visit, they curate an itinerary that blends outdoor exploration, culinary experiences, adventure, and relaxation. Their suggestions include a morning visit to Fairchild Tropical Botanic Garden, followed by refreshments from Wayside Market. Sundays feature a stop at the Pinecrest Farmers Market for local produce and artisanal goods. A quintessential beach day in South Beach, complete with lunch at Joe’s Stone Crab, is also on the agenda. For a change of scenery and a more relaxed atmosphere, a trip to Ocean Reef is recommended for boating, swimming, and golf. Their itinerary also highlights Miami’s vibrant art and design scene, with visits to Wynwood for its street murals and creative energy, and the Miami Design District for its architecture, high-end shops, and curated spaces. Relaxation and rejuvenation are factored in with a spa day at The Standard Spa or Tierra Santa at Faena. Dining experiences are diverse and include COTE Miami for a Korean steakhouse, Bouchon Bistro in Coral Gables for French cuisine, and Queen Miami Beach for a glamorous dinner and show. Iconic local spots like Ball and Chain, known for its live music and history, are also included to offer a taste of Miami’s cultural heartbeat. The week concludes with drinks at Bellini at Mr. C Coconut Grove, offering a sophisticated end to their Miami tour. In acknowledging those who have supported their journey, Daphne and Claudia express profound gratitude to their husbands and children. They credit their families with unwavering support, encouragement, and understanding, which have been constant sources of strength throughout the late nights, early mornings, and significant milestones of their entrepreneurial endeavor. Their families are seen not just as supporters but as an integral part of everything they do at M&B Design Studio. #InteriorDesign #Entrepreneurship #FemaleFounders #SmallBusiness #MiamiLifestyle #WorkLifeBalance #FamilySupport #DesignStudio

Interior designer Bria Hammel is preparing to launch her own home furnishings line, Brooke & Lou, in August, named after her two children. Hammel's business, which she started with a single assistant six years ago, has grown significantly, now employing a team of 12 and handling projects across multiple states. The new collection is designed to be "life-friendly," catering to the common client request for durable pieces that can withstand daily wear and tear from children and common household incidents like spilled wine. The product line will encompass upholstered furniture, case goods, accessories, wallpapers, and pillows. Hammel describes the aesthetic of Brooke & Lou as a "fresh take on traditional preppy style," drawing inspiration from her Texan roots and an affinity for Southern design. This influence is intended to create a welcoming, bright, and cheerful home environment. The article highlights some of Hammel's previous design projects, showcasing her personal style, which she characterizes as a blend of coastal, preppy, and cottage elements. An example of this is a powder room featured in the article. Another project, a black-and-white entry, is noted as being particularly popular among her extensive Instagram following, which exceeds 45,000. The emphasis on practicality is further illustrated by a kitchen design where the fabric on the bar stools is described as "life-friendly," capable of easy cleaning even after spills like spaghetti. The collection aims to make stylish yet robust home furnishings more accessible to a broader audience. #BriaHammel #HomeFurnishings #InteriorDesign #BrookeAndLou #KidFriendlyDesign #LifeFriendlyProducts #SouthernStyle #PreppyDesign

Suzanne Lovell, a Chicago-based design professional, discusses her integrated approach to architecture, interior design, and fine-art advisory services. Having honed her skills at Skidmore, Owings & Merrill, Lovell launched her firm in 1985, specializing in residential projects ranging from large estates to superyachts. Her work is characterized by a holistic design process, where architectural materials, furniture, fabrics, and art placement are considered interwoven from a project's inception. This integrated methodology ensures that every aspect of a space contributes to a cohesive aesthetic and functional environment. Lovell emphasizes the distinct nature of acquiring art versus creating an interior. While interior design involves sourcing and buying to achieve a specific aesthetic, art acquisition, particularly for serious collectors, requires a different approach. The art world often demands proof that the art is not merely decorative to grant access to significant pieces and private sales. Lovell and her colleague Kristin Murphy Romanski, who directs the fine-art advisory service, focus on educating clients and providing them with an enriching experience. The goal is for clients to be able to tell a story about their art and home, transforming the entire process, including house building, into an enjoyable and memorable journey. The fine-art advisory service offered by Lovell's firm is comprehensive, involving collaboration with auction houses and galleries. It manages clients' existing collections through logging pieces and coordinating appraisals. The service also assists clients in bequeathing art to museums, demonstrating a deep understanding of museum acquisition priorities. Interestingly, Lovell notes a growing trend among collectors to establish their own private museums, driven by a desire to create accessible art experiences for visitors rather than having pieces stored away in public institutions. Lovell shares details about current projects, including a residential renovation in upstate New York that adopts a Danish-Norwegian aesthetic with white plaster, Andes black granite, and raw oak, designed to complement the surrounding garden. She also discusses an anticipated trip to Cork, Ireland, to meet with Joseph Walsh, a maker renowned for his bentwood furniture and sculptures, to explore the integration of his work into architecture. Regarding her firm's location, Lovell attributes Chicago's unique environment to fostering a loyal team with strong communication and a lack of ego, which she believes has been crucial for building her business. She recounts her experience designing her first superyacht, highlighting the challenge and intrigue of working within limited space, which demands exceptional accuracy and organization for every element. Lovell's design philosophy embraces both traditional and modern elements, often blending them to honor clients' individual preferences rather than imposing a signature style. This approach is evident in her willingness to create diverse aesthetics, from knotty-pine houses to modern penthouses. Her work on a penthouse concept for Vista Tower in Chicago involved leveraging drone footage to understand views and noise levels, emphasizing the importance of creating serene spaces within urban environments and using art to provide memorable moments. She highlights art as a critical component in defining the character and experience of a living space. #SuzanneLovell #InteriorDesign #Architecture #FineArtAdvisory #ResidentialDesign #LuxuryHomes #SuperyachtDesign #ArtIntegration #ChicagoDesign

Olivia Smith, founder of Nodi Rugs, shares her journey in textile design, deeply influenced by her travels and connection to nature. Her initial steps into the world of textiles began in Milan, where she studied textiles and interned with a designer specializing in block-printed textiles from India. This experience introduced her to the beauty of handmade and traditional Indian textiles, and it was during this time that she learned the word "nodi," meaning 'knots' in Italian, which later became the inspiration for her brand name. After three years in Milan, facing the economic downturn of 2008, Smith moved to Sydney. There, she worked for a furniture company, gaining insight into the interiors market, trade accounts, and project specifications by working with interior designers and architects. Despite this, her passion for textiles persisted in the background. A trip to Japan served as a pivotal moment, inspiring her to move to India with the intention of learning and honing her textile skills rather than immediately starting a business. In India, she connected with an agent and various rug factories, ultimately choosing one to weave her initial designs. Smith's early designs were heavily influenced by her surroundings and travels, emphasizing the transformative power of new environments on creativity. Her first collection, consisting of five full rug designs and swatches, presented a logistical challenge upon their arrival in Sydney due to their weight. Undeterred, she created a catalogue, photographed the rugs, and began selling them to her contacts in the interior design community. Recognizing the need for a stronger support system to grow her business, she relocated to Mount Maunganui, New Zealand, where she established the foundational elements of Nodi Rugs. She secured retailers and gradually expanded her sales, leading to the release of a second collection. Over time, Smith adapted her design philosophy to cater to the New Zealand market, which she observed to be more conservative in its aesthetic preferences. This led her to introduce a new range that balanced her bold initial designs with more subdued, versatile options. Her "Staples" range was born from observing natural light and shadows in her Mount Maunganui office, directly inspiring the organic forms within the collection. She consciously chose natural materials like jute, banana silk, and cotton, aligning with the coastal environment she was then inhabiting. The commercial sector has become a growing segment for Nodi Rugs, with custom-made rugs for specific spaces being a favored aspect of her work. For her latest collection, Smith faced the challenge of balancing creativity with commercial viability. This collection, which required numerous redesigns, introduces a wool component to the Staples range and explores different spinning techniques for jute, creating a comprehensive array of staple rugs. Additionally, a new designer range called "Luna," meaning moon in Italian, emphasizes texture and yarn, further showcasing her commitment to natural inspiration and materials. Nodi Rugs exclusively uses natural fibers like wool and jute, avoiding synthetics, underscoring their inherent durability and resilience. Looking ahead, Smith envisions Nodi Rugs evolving into a global brand, exhibiting at major international trade fairs like Salone in Milan and Maison&Objet, while maintaining its core operations in New Zealand. #OliviaSmith #NodiRugs #TextileDesign #InteriorDesign #RugDesign #NaturalMaterials #HandmadeTextiles #TravelInspiration #NewZealandDesign

British artist Sophie Smallhorn, whose work explores the relationships between color, volume, and proportion, grew up immersed in a creative environment. Her parents were industrial and textile designers, and her Montessori education, with its use of brightly colored, precisely shaped wooden objects, fostered an early understanding of color, form, and dimension. This upbringing shaped her artistic approach, which is characterized by sophisticated geometric solids and a focus on color dynamics. Initially, Smallhorn pursued a degree in Wood, Metal, Ceramics, and Plastics at the University of Brighton, where she crafted sculptural furniture pieces that, despite their limited functionality, were primarily driven by color. She began creating assemblages from leftover materials for personal enjoyment, eventually selling them informally. Her acceptance of her work as fine art came only after a gallery explicitly presented it as sculpture, reflecting her background in design and making. Early career milestones included significant commissions from the avant-garde fashion brand Comme des Garçons, which provided opportunities for large-scale installations at its Tokyo flagship. These projects broadened her scope, leading to collaborations such as developing a 56-color palette for the London 2012 Olympic Stadium with Populous Architects, where exterior canvas banners in various hues marked spectator entrances. More recently, Smallhorn has ventured into textile design with Designtex, creating an upholstery pattern named Ribbon. This marks her first formal foray into textiles, a field her mother worked in, and one Smallhorn initially resisted due to her discomfort with digital design processes and the overwhelming possibilities of digital printing. However, a clear vision from Designtex's executive design director, Sara Balderi, during their renewed collaboration post-COVID, made the digital process manageable and even a revelation. The inspiration for the Ribbon motif originated from an enameled snuff box with an undulating ribbon, which Smallhorn encountered at the Victoria and Albert Museum. She developed the idea by physically manipulating collage and colored acetates, twisting and folding them, before translating these physical experiments into a digital layout for pattern repeat, palette, and scale. The initial design, which started smaller, evolved into a bold, graphic, and dynamic pattern with a theatrical quality, largely influenced by Designtex. The ribbon on the fabric is not solid but composed of parallel lines, a deliberate choice by Smallhorn to achieve an effect similar to screen printing, where overlapping transparent colors create a third hue, adding a playful and energizing graphic element. A solid version of this pattern, called Flat Ribbon, is available as a customizable wallcovering through Designtex’s Digital Studio website. Smallhorn notes a significant crossover between her two-dimensional prints and her three-dimensional sculptures and installations, as both involve compositions of hard-edged formal shapes. Screen printing serves as a rapid and playful method for developing ideas, allowing for serendipitous color scenarios that often inform her sculptural pieces. While her three-dimensional work does not allow for layering transparent colors, the print table mimics sketching, providing inspiration for new color combinations. She uses the same acrylic paint for both prints and assemblages, viewing the latter as vehicles for exploring and holding a palette. Smallhorn emphasizes the intuitive nature of her color decisions, often repainting pieces multiple times to achieve a desired equilibrium among what she describes as 'easy' and 'less easy' or 'awkward' and 'less awkward' colors, without relying on a predefined system. Her collaborations with brands like Comme des Garçons and COS exemplify her ability to bridge fine art and commercial design. For COS, she created window displays for five global stores, featuring large, overgrown stacks of shapes designed to complement product displays. This dual engagement with both artistic and commercial realms is a comfortable space for Smallhorn, who appreciates working with brands that share a similar sensibility toward color and design. Her career demonstrates a consistent exploration of color, form, and proportion across various mediums, continually seeking synergistic relationships in her chromatic work. #SophieSmallhorn #ArtistInterview #ColorDesign #Sculpture #TextileDesign #InteriorArt #DesigntexCollaboration #GeometricForms #CreativeProcess

Jane Hall, an architect, author, and curator known for her work in expanding the understanding of design and its societal impact, discusses her new book, "Making Space: Interior Design by Women." Hall is a founding member of Assemble, a London-based collective that received the Turner Prize for its community-focused architectural work. Her academic background includes studies at King's College, Cambridge, the Royal College of Art, and a PhD focusing on modernist architects. In 2013, she was the first recipient of the British Council's Lina Bo Bardi Fellowship. Her publications consistently aim to re-evaluate the role of women in the creative arts. Her 2019 book, "Breaking Ground: Architecture by Women," provided a comprehensive, visually rich overview of hundreds of buildings by women architects, seeking to integrate their contributions into architectural history. Following this, "Woman Made: Great Women Designers" (2021) cataloged over 200 female practitioners across various design fields, including furniture, products, and graphics, reframing design history as a interconnected global narrative rather than a limited canon. Her latest work, "Making Space: Interior Design by Women," focuses specifically on interior design, exploring its evolution through the careers of 250 female designers from the early 20th century to the present. Hall highlights how interior design, despite often being seen as a "feminized" profession, has historically provided a significant arena for women's design influence. She notes that unlike architecture, interior design was less institutionalized and theorized, allowing women an earlier and more artistic role in shaping spaces, particularly domestic ones. Hall emphasizes that while the term "interior designer" is a modern professional title, many women in her book, especially from earlier periods, engaged in what could now be considered interior design without formally identifying as such. She points out the client-centric nature of interior design, contrasting it with product design for mass production. Interior designers, she explains, act more like artists, translating client visions into unique aesthetic statements, thereby influencing broader design trends. She identifies the Second World War as a turning point, noting that before the war, many women in the profession came from affluent backgrounds, enabling them to realize ambitious and extravagant projects. An example is Dorothy Draper's design for the Greenbrier Hotel, characterized by bold colors and patterns, which pushed conventional boundaries of taste. Hall observes a surprising lack of Bauhaus or Modernist interior designers among women, as interior design often operated outside academic and theoretical frameworks, providing an avenue for women to express avant-garde ideas. In the post-war period, designers like Florence Knoll gained prominence, alongside figures like Barbara D’Arcy of Bloomingdale's, who made design accessible to a wider audience by showcasing how to integrate products into home interiors. Hall also cites Eva Jiricna, who introduced high-tech aesthetics and glass staircases into retail environments, influencing contemporary spaces like Apple Stores. Other influential designers include Marion Hall Best, known for her vibrant 1960s color-blocking, demonstrating how individual creativity initiated broader trends in interior environments. Contemporary interior design, while more specialized, still requires significant artistry. Hall notes that while the industry has expanded and designers are highly skilled, the proliferation of platforms like Instagram can sometimes flatten the perceived complexity and excitement of their work. However, modern designers, including those like Alex Dorley, Sophie Ashby, Pamela Shamshiri, Jialun Xiong, Maye Ruiz, and Tekla Evelina Severin, continue to create innovative and influential interiors, often extending their practice to include their own furniture, paint, and fabric lines. Many younger designers, not from traditional wealthy backgrounds, find opportunities in commercial spaces, pushing creative boundaries to stand out in a visually driven world. #InteriorDesign #WomenInDesign #Architecture #DesignHistory #FeministArchitecture #DomesticSpaces #CreativeArts #PhaidonBooks

This article introduces the second edition of Ann Ferebee’s book, "A History of Design from the Victorian Era to the Present." The author reflects on the significance of the first edition, published in 1970, as their initial foray into design history, noting that it predated Philip B. Meggs’ "A History of Graphic Design" by over a decade. The original book, despite being black and white, provided a comprehensive overview of modern design from the Victorian era up to its publication. The second edition, co-authored by Ferebee and Jeff Byles, is a full-color volume that expands the historical scope by four additional decades. This updated version serves to highlight the evolution of the design history movement itself, a field that Ferebee's original work helped to prefigure. The book offers a cross-disciplinary survey of design history, covering major milestones in architecture, interior design, graphic design, product design, and photography. Its timeline spans from the Crystal Palace of 1851 to the advent of the iPhone in the early 21st century. The volume traces the development of modern design across various continents and cultures, identifying key movements and design traditions that have shaped the contemporary world. It begins with the period of innovation in Victorian England at the onset of the Industrial Revolution, detailing subsequent design evolutions over more than a century and a half. This includes an exploration of Art Nouveau's ornamental style, the 'new vision' introduced by the Bauhaus, the emergence of the International Style, and the later developments in postmodernism and contemporary graphic arts and landscape architecture. Prominent design figures are contextualized within the broader framework of changing aesthetic idioms. The authors pay particular attention to how technological innovations acted as catalysts for architectural marvels like daringly conceived skyscrapers and bridges, as well as functional designs such as cantilever chairs. Furthermore, the book examines the impact of technical advancements on industrial design, typography, and photographic portraiture, illustrating how these fields were transformed by new technologies. The book's comprehensive nature and updated content make it a valuable resource for understanding the multifaceted history of design. #DesignHistory #AnnFerebee #VictorianEra #ModernDesign #ArchitecturalHistory #GraphicDesign #ProductDesign #InteriorDesign #TechnologicalInnovation

The ARBA chair, a collaboration between French designer Erwan Bouroullec and raawii, emphasizes the tactile and material qualities of objects, offering a blend of strong lines and balanced composition. The chair was unveiled at 3daysofdesign in Copenhagen, an exhibition that explored the interplay between market, gallery, and studio spaces, encouraging visitor interaction with all displayed items, which were also available for purchase. This initiative highlights accessibility as a core principle for the new partnership. The project seeks to address how designers can increase their involvement in the distribution and production of their work, aiming to grant them more influence within the industry and to re-evaluate product consumption. The ARBA chair is designed for end-user assembly, arriving flat-packed. Its construction incorporates two molded plywood forms that provide a balance of flexibility and stability, with careful attention paid to proportion and shape. The physical weight of the chair underwent continuous refinement to optimize its visual and environmental impact. The design strikes a delicate balance between a prototypical aesthetic and expertly proportioned elements. The ideation process for the ARBA chair took place in Bouroullec's countryside studio in France, where he concentrated on exploring the limits of engineering and testing within that specific environment. Erwan Bouroullec articulated that the design process began with a simple concept, followed by several days of welding, drilling, sewing, and painting in his studio. The aim was to achieve a “positive minimum” by being swift and lightweight in both conceptualization and physical execution, utilizing existing resources without extensive prior planning. This approach fostered discovery through the making process and intuition-driven finalization. The result is a lounge chair that is easy to comprehend and exhibits an intentional "roughness," which Bouroullec clarifies is not a stylistic choice but rather a foundational element for more efficient manufacturing in the future. Starting in September 2024, the ARBA Lounge Chair will be available in three base colors: Dark Green, Light Grey, and Burned Orange. It will also offer various painted and veneered finishes. Upholstery options from Kvadrat Textile and Spoor Leather are provided, contributing to an elegant and inviting profile that allows for additional comfort and personalization. The chair's design and production reflect a commitment to thoughtful methodology, affordability, and elegant materiality, aiming to create a lasting product. #FurnitureDesign #ProductDesign #ErwanBouroullec #Raawii #LoungeChair #HomeFurnishings #DesignProcess #InteriorDesign #FlatPackFurniture

Herman Miller, in collaboration with Danish design label Hay, has launched a new collection that reinterprets iconic Eames designs. This partnership celebrates Hay’s 20th anniversary and infuses contemporary colors and updated materials into classic pieces by Charles and Ray Eames. The collection will be available across North America, South America, Asia, Australia, and Africa. The collaboration was driven by Rolf and Mette Hay's long-standing admiration for Herman Miller and the Eameses, recognizing their shared values of playfulness, curiosity, and experimental use of new technologies. Rolf Hay emphasized the Eameses' ability to create high-quality industrial design for a broad audience through smart production methods, a philosophy that aligns with Hay's own mission. Mette Hay undertook extensive research within Herman Miller's archives, examining Eames ephemera, auction prototypes, and museum catalogues, as well as out-of-production textiles by Alexander Girard, to inform the color palette. Her goal was to modernize the color approach without entirely abandoning the original aesthetic. The collection features eight reimagined Eames designs, including the 'Eames Molded Plastic Chair' (available with and without arms), the 'Wire Chair', 'Wire Base Low Table', the 'Universal Base Round Table', and the 'Hang It All' coat rack. These pieces are presented in playful new shades such as toffee, iron red, indigo, mint green, powder pink, and powder yellow. A significant update for the 'Eames Molded Plastic Chair' is its construction from 100% post-industrial recycled plastic, highlighting a commitment to sustainability. A special edition of the 'Eames Compact Sofa' is also part of the collection, featuring a 1955 colorway of Alexander Girard’s Jacob’s Coat textile. This inclusion pays homage to the close personal and professional relationship between the Eameses and Girard, with Maharam faithfully reissuing the textile at Mette Hay's request. Another highlight is the 'Molded Plywood Chair', now offered in emerald green. Overall, the Herman Miller x Hay collection not only celebrates the artistic vision of Charles and Ray Eames but also underscores their influential creative dialogue with Alexander Girard. This collaboration emphasizes the Hays’ dedication to partnership and their commitment to the Eameses’ philosophy of making good design accessible to everyone. The contemporary updates are designed to appeal to both long-time enthusiasts and new admirers of these timeless pieces. #HermanMiller #Hay #Eames #DesignCollaboration #FurnitureDesign #MidCenturyModern #ProductRedesign #SustainableDesign

The article highlights nine iconic pieces of furniture, traditionally attributed primarily to male designers, revealing the significant contributions of women to their creation. It challenges the historical perception of furniture design as a male-dominated field, emphasizing that women often pioneered functional and aesthetically pleasing designs, partly due to their intimate understanding of home environments. The piece begins with Charlotte Perriand, an idealist who enrolled in Paris’ Central Union of Decorative Arts school in the 1920s as one of the first women to study furniture design. Despite an initial rejection from Le Corbusier, her innovative tubular steel furniture quickly earned her a place in his studio, leading to her co-design of the LC4 Chaise Longue in 1928, alongside Le Corbusier and Pierre Jeanneret. This piece is recognized for its adjustable design and use of industrial materials, embodying modernist principles. The article then discusses Ray Eames's pivotal role in the Eames Lounge Chair (1956), a collaboration with her husband Charles Eames. This design, often solely credited to Charles, is presented as the culmination of years of work in molded plywood, advanced through a U.S. government contract during World War II. Florence Knoll's namesake Knoll Sofa (1956) is featured as a design born from necessity, addressing the need for versatile furniture that suited both residential and commercial spaces, and known for its clean lines and timeless appeal. Nanna Ditzel's Hanging Egg Chair (1959) is celebrated for its unique form and challenge to traditional notions of practicality and beauty, cementing her status as "The Grand Dame of Danish Design." Eileen Gray's Bibendum Chair (1926) is introduced as a politically charged design, serving as her feminist response to Le Corbusier's 'Grand Confort.' Inspired by the Michelin tire company's mascot, the chair features rounded, upholstered forms over a tubular steel base, blending Art Deco glamour with industrial modernism. Lilly Reich's often-overlooked collaboration on the Barcelona Chair (1929) with Mies van der Rohe is also brought to light. This elegant design, drawing inspiration from ancient Egyptian folding stools, signified luxury and status, with its graceful curves departing from earlier modernist efficiency. Margarete Schütte-Lihotzky's Frankfurt Kitchen (1926) is presented as a revolutionary contribution, transforming kitchen design with a focus on efficiency and hygiene. Designed for social housing, it featured built-in storage and thoughtful material choices, empowering women by streamlining household tasks. Lina Bo Bardi's Bowl Chair (1951) is recognized for its playful aesthetics and ergonomic design, with a semi-spherical seat that can be adjusted for varying comfort. Finally, Zaha Hadid's Z-Chair (2011) showcases a futuristic and fluid design crafted from bent aluminum, illustrating her bold architectural thinking translated into furniture. #FurnitureDesign #WomenInDesign #DesignClassics #MidCenturyModern #ModernistFurniture #InteriorDesignHistory #FemaleDesigners #IconicChairs #HomeDecor