Designing Better Spaces: Dana Vaux’s research focuses on connection between people, places

The article highlights Jules Stafford, an interior design alumna from George Fox University, and her impactful work at DesignCase, a firm recognized for its community-focused projects. Stafford, a bi-cultural woman with Mexican and Filipino heritage, integrates her understanding of diverse cultures into her design philosophy, emphasizing the creation of hospitable spaces that foster community. A notable project discussed is the Immigrant Food restaurant in Ballston, Virginia, which she helped design. This restaurant is celebrated for its vibrant aesthetic, reflecting various immigrant cultures, and its role as a hub for cultural exploration and community engagement. Stafford's work extends beyond commercial projects to pro bono community initiatives. DesignCase recently revamped teacher lounges in a local K-12 public school, designing intentional spaces for educators across different grade levels. This project deeply resonated with Stafford, who witnessed the profound positive impact these revitalized spaces had on the teachers, reinforcing her belief in the power of design to serve and uplift communities. She views these opportunities as a way to steward her talents and contribute meaningfully to society. The article also delves into Stafford's personal journey, detailing her upbringing in Hesperia, California, within a large family that instilled in her a strong sense of community and a knack for organizing events. Her early experiences with hospitality and planning naturally transitioned into an interest in interior design. As a first-generation college student of color, Stafford faced unique challenges in pursuing higher education. Her family, with no prior college attendees, found the prospect of university cumbersome. She navigated a crossroads between pursuing a design-focused school or a faith-based institution, ultimately finding George Fox University and its Mosaic Scholars Program, which offered both academic and leadership development support. Her transition to George Fox was initially difficult due to the distance from home and financial pressures. Overwhelmed, Stafford considered leaving after only two weeks. However, the unwavering support from university staff, particularly Bryce Coefield and Jenny Elsey, played a crucial role in her decision to stay. They provided her with options and encouragement, demonstrating the strong community ethos at George Fox. Further support came in the form of a nanny position with George Fox’s women’s volleyball coach, Emily Davis, which offered her housing and extended her stay at the university, allowing her to thrive academically and personally. Casey Martin, Stafford's interior design professor, also provided significant mentorship and practical assistance, including helping her secure employment when an initial job fell through. Martin's commitment to connecting students with industry professionals and offering comprehensive support, whether professional or personal, was instrumental in Stafford's success. The collaborative spirit among her peers in the interior design program, where students supported each other through competitions and celebrated collective achievements, further underscored the importance of community. Stafford's story culminates in her securing a position at DesignCase, a moment celebrated by her classmates, symbolizing a shared victory and the fulfillment of her aspirations. She continues to advocate for collaborative design, emphasizing the need for diverse perspectives to create impactful and meaningful spaces, believing that even small organizations can achieve significant positive change. #InteriorDesign #CommunityEngagement #AlumniSuccess #GeorgeFoxUniversity #FirstGenerationStudent #CulturalFluency #ProBonoWork #Mentorship #CareerJourney

The architectural landscape in London is undergoing a significant transformation, driven by a new generation of practices equipped with innovative ideas, advanced digital tools, and fresh approaches to design. Among these emerging studios, Matter Space Soul, led by Natasha Reid, distinguishes itself by prioritizing the social, emotional, and psychological wellbeing of individuals in its architectural projects. Initially established as Natasha Reid Design in 2014 and later rebranded in 2019, Matter Space Soul functions as a compact architecture lab and consultancy. Its core mission is to redefine the creation of built environments by fostering positive human experiences. Natasha Reid's approach is rooted in a proactive and research-led methodology. Her team collaborates with psychologists and other scientific experts to delve beyond conventional design practices, aiming to cultivate spaces that evoke joy and soulfulness. She emphasizes that the studio's ultimate goal is not merely to construct buildings but to craft experiences that enhance the "human performance" of places. This encompasses the impact of spaces on people's happiness, sociability, and sense of identity. The results of Reid's methods, while not always overtly visible, have demonstrated tangible success. For instance, her redesign of the Mondrian Suites hotel in Berlin, employing nature-inspired biomorphic principles, transformed a previously sterile and crime-prone area into a vibrant, safe, and welcoming destination that integrates seamlessly with its surroundings. Similarly, the Larch House, a modest London extension, was reimagined as an urban sanctuary, fostering connection and togetherness for the resident family. Beyond residential and hospitality projects, Matter Space Soul has also applied its human-centered design philosophy to commercial spaces. The studio supported Cleveland and Co, a progressive female-led law firm, in creating an office environment that reflects a collaborative and non-hierarchical ethos. This was achieved by integrating elements of domesticity, customization, and flexibility into the workspace. The firm is also actively developing community and co-living initiatives, further underscoring its commitment to social impact. Reid's innovative perspective gained early recognition when she won New London Architecture’s international competition ‘New Ideas for Housing’ in 2015, addressing the country's housing crisis. The studio consistently balances conceptual and theoretical work with practical building and interior commissions. This is supported by research and grants from organizations like the British Council, focusing on critical issues such as gentrification, placemaking, and social impact. Reid is also a Fellow at the Centre for Conscious Design and co-curated the 2020 London edition of the Conscious Cities conference, a global event exploring how human-centered, science-informed design can create healthier, more equitable, innovative, and sustainable cities. The conference theme, 'Flourish,' highlights the importance of intersections, connectedness, and ecosystems in enabling people and places to thrive. A recurring theme throughout Reid's work is the emphasis on emotional quality, wellbeing, and the human experience. She firmly believes in universal access to spaces that facilitate growth and flourishing. Empathy is a core value in her studio, guiding them to uncover solutions that cater to both body and mind, and resonate with the personal narratives individuals wish their environments to tell. Drawing inspiration from Geoffrey Scott's "The Architecture of Humanism," which posits that architecture studies the effect of structure on the human spirit, Reid aims to bridge the gap between architectural practice and the diverse realities of everyday life. Through the pioneering efforts of studios like Matter Space Soul, there is significant hope for a more human-centric and impactful future in architecture. #Architecture #Design #Wellness #HumanCenteredDesign #SocialImpact #LondonArchitecture #MatterSpaceSoul #NatashaReid #ConsciousCities

Dana Esser, an interior designer and creative, discusses her business, Dana Michele Design, and its profound impact on the daily lives of occupants in the spaces she designs. Esser highlights the significance of her work in creating therapeutic environments, such as offices for therapists and psychiatrists. These projects involved extensive research into layout, audio and visual privacy, color, texture, and furniture selections to ensure patients feel welcome, calm, comfortable, and safe. The insights gained from designing these therapeutic spaces are now applied to all her projects, ensuring they enhance the well-being of occupants and meet functional needs. Dana Michele Design distinguishes itself through an unwavering commitment to clients, with Esser acting as a 'client advocate.' With eight years of corporate interior design experience, she is now directly involved in every project, ensuring personalized attention and expertise for each client. The design process at Dana Michele Design integrates spatial intelligence with creative intuition, focusing on solving complex puzzles and understanding human needs to create spaces that resonate deeply. This process begins with in-depth client engagement to understand their aspirations and challenges, leading to designs that are not only aesthetically pleasing but also supportive of their present and future needs. Esser emphasizes the importance of professional integrity and personal well-being, stating a rule to only accept projects where her team is respected and valued, especially as a female entrepreneur in a male-dominated industry. Looking ahead, Esser plans to launch a non-profit arm of Dana Michele Design. This initiative will focus on community engagement by partnering with organizations that provide housing and support to vulnerable communities, aiming to create nurturing environments that empower individuals to thrive. The success of Dana Michele Design is attributed to human connection and the transformative power of thoughtful design, driven by a commitment to clients and the wider community. Outside of her professional life, Esser shares recommendations for enjoying Los Angeles with a visiting friend. Her ideal week would include coffee from Primo on Montana Street, brunch at Courtyard Kitchen in Santa Monica, leisurely strolls along the boardwalk, and beach volleyball. Nature excursions would involve hiking the Los Leones trail in Pacific Palisades for panoramic ocean views. Cultural experiences would include visiting the Broad or Hammer museum exhibits. Evenings would feature live entertainment at venues like the Hollywood Bowl or Aviator Nation’s Dreamland in Malibu, or attending a comedy show. Dining options range from Fia in Santa Monica to Osteria Mozza, followed by a night out in West Hollywood or Hollywood. Esser acknowledges several individuals who have significantly influenced her journey. She credits her family for providing essential physical and financial security and unwavering love. Her high school art teacher is recognized for channeling her creativity and introducing her to interior design at 16, a pivotal moment in discovering her passion. Lastly, she highlights the continuous inspiration, encouragement, and love from her closest friends, whom she considers her chosen family, calling them her backbone and biggest cheerleaders, especially when she experiences imposter syndrome. #InteriorDesign #CreativeEntrepreneur #TherapeuticSpaces #ClientAdvocacy #CommunityImpact #FemaleEntrepreneur #NonProfitInitiative #LosAngelesLifestyle #PersonalDevelopment

Stefano Tronci, Asia Pacific sustainability lead at Skidmore, Owings & Merill (SOM), is spearheading a comprehensive approach to crafting wellness spaces, extending beyond traditional biophilic elements, non-toxic materials, and WELL certifications. Tronci emphasizes prioritizing the well-being of individuals within commercial environments designed by SOM, fostering community and connection. In an episode of the 'Once Upon a Project' podcast, hosted by AJ Paron and supported by Shaw Contract, Tronci elaborated on how his team creates high-performance spaces with a strong focus on occupant well-being. Tronci's career trajectory reflects a deep-seated interest in connecting design with sustainability, exploring how architectural choices influence nature and resource consumption. He developed a keen focus on how design can directly impact the quality of life for the users of the spaces his firm creates. To achieve truly people-centric spaces, Tronci believes that input from a wide range of stakeholders, including developers, engineers, and city officials, is crucial. This collaborative approach ensures that proposed strategies are not merely aesthetically pleasing but also deliver tangible positive outcomes for the occupants. SOM's methodology for integrating wellness into architectural design involves codifying essential quality-of-life factors. These include promoting daily physical activity, incorporating circadian lighting to align with natural light cycles, and fostering immersion in natural environments. Tronci highlights the challenges presented by large East Asian cities, which often contend with millions of inhabitants, leading to issues such as pollution, noise, traffic, and high stress levels. He poses a fundamental question: how can society be reimagined through design to enhance health and well-being? An illustrative example of SOM's innovative approach is their master plan for a University Island development in Guangzhou, China. The design process began with an in-depth study of the local climate to understand its specific characteristics. This understanding informed strategies to optimize airflow, mitigate pollution, and reduce ambient temperatures within the development. Furthermore, safety is a paramount concern, particularly in the context of climate change and its associated impacts like increased heat waves and flooding. To address these environmental challenges, SOM integrated extensive green corridors throughout the University Island development. These green spaces are designed to naturally absorb water, creating tidal pools and actively regenerating local biodiversity. Tronci underscores the importance of designing spaces that can not only mitigate the effects of climate change on residents but also empower them to thrive within a changing environment. Tronci concludes by emphasizing the profound impact of place-making, regardless of whether the project is a public bench or a towering skyscraper. He asserts that establishing a sense of purpose within urban environments significantly enhances an individual's sense of belonging and their ability to consider a place home. True place-making, according to Tronci, transcends the mere placement of beautiful landmarks; it involves the intricate intersection of life within various architectural elements, buildings, communities, and the activities that unfold within them, creating a holistic and meaningful experience for inhabitants. #WellnessDesign #SustainableArchitecture #BiophilicDesign #UrbanPlanning #ClimateResilience #CommunityBuilding #ArchitecturalInnovation #PeopleFirstDesign

Ellen Van Dusen, the designer behind the fashion and homeware line Dusen Dusen, operates from a 600-square-foot studio in Williamsburg, Brooklyn. She moved into this space approximately five years ago, seeking a more interactive and creatively stimulating environment than working from home. Previously, working from home led to feeling isolated and dealing with practical issues like fabric scraps and pins. The studio serves as a dedicated space for her creative endeavors, addressing the challenges she faced in her previous home-based work setup. Van Dusen’s studio is a vibrant display of repetitious shapes, lines, arches, and squiggles, characterized by a bold use of primary colors combined with unexpected hues. The space showcases numerous examples of her brightly colored graphic prints across various products. These include silky dresses, linen jumpsuits, color-blocked jackets, dog beds, patterned throw pillows, graphic bath and beach towels, fruit-printed bed linens, and cozy blankets. Poster boards featuring her most popular prints are also displayed throughout the studio, highlighting the consistent aesthetic of her brand. Despite the abundance of items, the studio maintains an organized chaos. There is a clear sense of order within the colorful environment. For instance, scissors are neatly hung, and books, though seemingly disarranged, are easily located by Van Dusen. She references a book on the principles of geometry, noting its exploration of mathematical patterns, including tessellations—repeating shapes that fit together seamlessly. She observes that some of these geometric principles resemble prints she has independently created, highlighting an intuitive connection to mathematical design. Van Dusen's approach to design is inherently analytical, stemming from her academic background. She has no formal fashion or design training. Instead, at Tufts University, she created her own major, "Psychology of Design," which explored art history through the lens of neuroscience. Her studies focused on how the brain perceives color, culminating in a senior thesis on the use of color by artists Mark Rothko, Morris Louis, and Ellsworth Kelly. Her lifelong fascination with color drives her inquiry into its visual appeal, its role in human perception, and the success of color-centric art. Her interest in art and design began in childhood, influenced by frequent visits to museums in Washington, D.C., and craft projects with her architect parents. This upbringing fostered a diverse range of interests that shaped her aesthetic, which she describes as drawing from many different worlds. As a teenager, Van Dusen began designing her own clothing, using a sewing machine to reconstruct thrift store garments. She often favored bright, unexpected color combinations and graphic patterns, creating her own printed textiles by laboriously sewing patterns onto fabric, as she initially did not know other methods. After moving to New York, Van Dusen received an opportunity to stock her designs in an East Village boutique, prompting her to rapidly learn professional skills like grading, pattern-making, and finishing. She launched Dusen Dusen in 2010, hand-sewing her initial collection from a makeshift workspace in her bedroom. In 2015, she expanded her brand into home decor, including pillows, blankets, bed linens, towels, and pet beds, adapting her clothing prints to different scales for these items. She notes that designing for home decor allows for individual object design, unlike clothing, where fabric patterns are cut from a larger piece. Van Dusen's design process incorporates technology, with her brothers helping her code patterns to generate variations. This method aids in brainstorming and developing new print ideas. However, she emphasizes the importance of unplugging and working with analog methods. Her studio is intentionally divided into a digital workspace and an "analog side" where computers are not allowed, enabling focused drawing and idea generation without digital distractions. Looking ahead, Van Dusen is renovating her home, which is influencing her thinking about larger-scale design. She is also collaborating with a furniture designer and developing upholstery fabric, considering its potential use in both home furnishings and unconventional clothing items. #DusenDusen #EllenVanDusen #BrooklynStudio #ColorPsychology #PatternDesign #HomeDecor #FashionDesign #TextileDesign #CreativeProcess

Empathy-driven design in architecture is a critical approach that shapes both the physical environment and social dynamics, focusing on fostering social equity. This method emphasizes understanding the lived experiences, struggles, and aspirations of individuals, particularly those in marginalized communities. The goal is to create spaces that promote dignity, accessibility, and social equity beyond mere aesthetics and functionality. By prioritizing empathy, architects can design environments that uplift communities, address disparities, and drive positive societal change through human-centered design. Central to empathy-driven design is a collaborative approach where architects engage directly with future inhabitants. This ensures that design solutions genuinely reflect the diverse needs and aspirations of the community, moving away from top-down processes toward a participatory model that empowers residents. This collaboration recognizes community vulnerabilities while instrumentalizing and empowering their competencies within the architects' framework, fostering ownership and identity, and deepening the connection between individuals and their environment. Empathy serves as a catalyst for social change in architecture by challenging designers to consider the broader impact of their work on social equity, thereby creating more inclusive and adaptable spaces. Whether dealing with affordable housing, public infrastructure, or community gathering areas, empathy-driven design elevates architecture's role in promoting social justice. By integrating empathy, architects can create equitable and caring environments that serve the common good, acting as active listeners and co-designers who immerse themselves in the community's context to reflect its values, needs, and identity. Several projects exemplify this approach. The Butaro District Hospital in Rwanda, designed by MASS Design Group, demonstrates how a hospital can meet healthcare needs while reflecting community dignity. The design incorporated natural ventilation, local volcanic rock, and views of the landscape, all contributing to a healing environment. Community members were involved in construction, ensuring local economic benefits and investing 85% of building costs into the local economy. Maggie's Centres, designed by various architects like Frank Gehry and Foster + Partners, provide supportive environments for cancer patients and their families. These centers feature natural light, gardens, and non-institutional interiors, emphasizing inclusivity and accessibility for all, regardless of physical ability, economic status, or cultural background. This approach contributes to healing and human dignity, showcasing the power of empathetic design in healthcare. In addressing the housing crisis, the Quinta Monroy Housing project in Chile by ELEMENTAL, led by Alejandro Aravena, offers "half-houses" that residents can complete as their financial situations improve. This adaptable design, based on extensive community consultations, allows families to personalize their homes, promoting ownership and social equity. Similarly, the Empower Shack project in Khayelitsha, South Africa, by Urban Think Tank, reimagines housing for informal settlements through participatory design. Residents are involved in the design and construction of affordable, expandable housing, giving them control over their living conditions and fostering social cohesion and economic opportunities. Despite the numerous benefits, empathy-driven design faces challenges, including balancing empathetic goals with practical constraints like budget, time, and regulations. Projects for underprivileged communities often have tight budgets, making extensive collaboration difficult. Overcoming deeply entrenched societal inequalities, such as poverty or discriminatory policies, is another hurdle, as architecture alone cannot resolve systemic issues. Cultural and contextual sensitivity is also crucial, requiring architects to avoid imposing their values and to adapt designs based on feedback from diverse populations. Despite these challenges, empathy-driven design represents a transformative shift in architecture, prioritizing collaboration and responsiveness to create more sustainable, equitable, and dignified communities. #EmpathyDrivenDesign #SocialEquity #InclusiveArchitecture #CommunityEngagement #HumanCenteredDesign #AffordableHousing #HealthcareArchitecture #ParticipatoryDesign #SustainableDesign

The article highlights six innovators in Denver who are using design ideas to address problems and foster significant developments within the city. These individuals and firms represent diverse fields, including real estate development, museum direction, furniture design, and home technology, all contributing to Denver's evolving aesthetic and functionality. Mike Blea and Breton Lujan, co-founders of Raw Creative, are presented as pioneers in a comprehensive design-build-fabricate model. Their firm handles architectural design, construction, and custom furnishing fabrication, creating unique commercial spaces like Señor Bear and Morin restaurants. Their integrated approach allows them to maintain control over design concepts, pushing boundaries that might challenge others unfamiliar with fabrication. They emphasize their hands-on involvement, from architectural planning to the actual building process, which they find rewarding. The co-founders recall solving budget constraints at Table 79 by manipulating inexpensive materials to achieve a high-end Scandinavian look and meticulously designing hair-cutting stations for Elle.B Salon Central based on observed stylist movements. Looking ahead, Raw Creative is exploring micro-housing concepts to address Denver's affordability issues and expanding into residential projects, focusing on modest, comfortable, and sustainable designs, particularly in areas like Aspen. Alex Capecelatro, co-founder and CEO of Josh.ai, introduces Josh, an AI-powered home assistant designed to understand natural human speech and control home automation systems. Unlike other voice assistants, Josh integrates advanced intelligence to monitor various home aspects, including energy usage, weather patterns, and even specific room locations to tailor responses. Josh Micro, the hardware component, is designed with aesthetic appeal, featuring a concave shape inspired by Richard Serra sculptures and an invisible LED ring that indicates listening and touch controls. The device primarily processes data locally, ensuring customer privacy. Capecelatro envisions future home technology focusing on health and wellness, with products monitoring indoor air quality, water quality, and sleep patterns to improve residents' lives. Jonathan Alpert, a partner at Westfield Company, discusses his firm's contributions to Denver's development, including the Mission Ballroom, Stanley Marketplace, and S*Park, a sustainable condo community with an urban farm. He explains how Westfield Company collaborated with AEG to develop the Mission Ballroom as part of the larger North Wynkoop project, which includes offices, retail, and future residential and hotel components. Alpert defines sustainable development as encompassing environmental, social, and economic viability, exemplified by S*Park's urban farm. He acknowledges the challenges of Denver's growth, particularly regarding housing affordability, and advocates for public-private partnerships, expedited permitting for affordable housing projects, and increased efforts to build more financially viable affordable homes to ensure Denver remains an inclusive and thriving city. Nora Burnett Abrams, the new director of the Museum of Contemporary Art Denver (MCA), shares her vision for the institution. Having previously worked at prestigious New York museums, Abrams highlights Denver's unique culture of risk-taking and entrepreneurial spirit, which allows for greater artistic experimentation. She aims to build upon MCA's strong foundation, prioritizing support for local artists and expanding outreach to teen and young adult audiences, offering free admission for teens. Abrams also plans to embed the museum more deeply within the city through partnerships with other organizations, exploring topics beyond aesthetics, such as environmentalism, social justice, and mental health. She envisions MCA as a versatile space for both social gatherings and intellectual discovery, fostering curiosity and appreciation for contemporary culture. Richard Shirtcliffe, co-CEO of Noho, a Boulder and New Zealand-based furniture company, details his innovative approach to furniture design rooted in sustainability and human physiology. Motivated by the pervasive plastic pollution in oceans, Shirtcliffe co-founded Noho to create good-looking furniture from sustainable polymers and upcycled ocean plastic. His collaboration with Formway, a company known for dynamic comfort in commercial furniture, led to the development of chairs that support blood flow and improve cognitive function. Their first product, the Move Chair, is designed to flex and move with the body, made from repolymerized plastic, and features interchangeable wool toppers. Shirtcliffe emphasizes Noho’s mission to build a thriving business that positively impacts the world and individual well-being, starting with significant steps towards addressing environmental challenges through commerce. #DenverDesign #ArchitecturalInnovation #SustainableDevelopment #HomeAutomation #UrbanPlanning #ContemporaryArt #FurnitureDesign #AffordableHousing #CircularEconomy

The field of interior design is undergoing a significant transformation, moving beyond traditional aesthetics to embrace technology-driven experiences. This shift is highlighted by David Taglione of ICRAVE, a multidimensional design studio, who emphasizes the integration of physical, digital, and virtual elements to create immersive environments. The article outlines how digital technology is drastically changing how physical environments are created, requiring designers to think multidimensionally and incorporate digital strategy and customer journey mapping into their briefs. The evolution of interior design now prioritizes "experience design," where spaces are crafted to engage patrons through immersive brand experiences, integrating digital and immersive design with strong visual narratives. Key examples illustrate this evolution, starting with Sphere in Las Vegas, a project that demonstrates the critical role of emerging technology in the entertainment industry. For Sphere, a high-tech architectural lighting system was implemented to manipulate the venue's mood and energy, ensuring an immersive connection for guests and building anticipation for events. Another project, TSX Broadway in Times Square, aims to revolutionize artist-fan connections by blending physical and virtual worlds. This multi-use building incorporates augmented retail, futuristic showrooms with LED screens, a retractable stage, and a 'Retail Alley' with a programmable tunnel, offering both real-life and metaverse experiences. The project leverages Web3 capabilities to unite entertainment-seekers and level the playing field for artists and brands. The impact of virtual and digital technologies extends to healthcare and travel, as seen in the Memorial Sloan Kettering Cancer Center project. Here, technology was used to enhance the patient and family experience, making cancer care less anxiety-inducing. A personalized Real-Time Locating System (RTLS) device was introduced to allow patients, caregivers, and staff to move more freely within the facility, providing patients with greater agency and control over their time during treatment. This approach aims to create a more hospitable and less restrictive environment, enabling patients to use their time more thoughtfully and productively. Digital technology is also instrumental in revitalizing historical destinations and exhibitions. For London's iconic Battersea Station, digital elements such as animated technical drawings and interactive tables with AR web apps were integrated to engage a new generation of audiences. These digital tools worked together to tell a cohesive story, allowing visitors to participate actively in the Power Station's rich history, transforming it into a dynamic entertainment destination. Since its reopening, Battersea Station has attracted over 11 million visitors, demonstrating the success of combining historical reverence with modern technological engagement. As a result of these advancements, the role of interior designers has expanded significantly. Designers are now tasked with finding technological solutions that harmonize with physical spaces and connect emotionally with consumers. The shift from focusing purely on aesthetics to creating multidimensional experiences signifies a new era in design, where technology is not just a tool but a fundamental component in crafting engaging and impactful environments. #InteriorDesign #DigitalTransformation #ExperienceDesign #ImmersiveExperiences #TechnologicalInnovation #SphereLasVegas #TSXBroadway #HealthcareDesign #ArchitecturalLighting

This article features an interview with Vanessa Rome, an interior designer based in New York City, discussing her career, business philosophy, and personal recommendations. Rome attributes her success to a Type A personality, strong organizational skills, and an unwavering passion for interior design. She emphasizes that her work feels less like a job and more like a calling, which allows her to dedicate long hours and weekends to her projects without feeling burdened. Vanessa Rome Interiors operates as a boutique residential interior design studio in New York City. Rome deliberately limits the number of projects taken on each year to fewer than ten. This approach ensures that each client receives a high level of personalized attention and meticulous care, reflecting the standard of service she would expect as a client herself. A key lesson she has learned in her career is the critical importance of measuring and re-measuring everything to ensure accuracy and prevent errors in design execution. When asked about recommendations for a friend visiting New York City, Rome suggests a culinary and cultural tour. Her top dining picks include Indochine, a long-standing favorite from her NYU days, and upscale Asian restaurants like Nobu and Mr. Chow. For activities, she recommends walking through the neighborhoods of Tribeca and Soho to explore various clothing and furniture stores, indulging her passion for both fashion and home aesthetics. A stroll through Central Park is also highlighted for its people-watching opportunities and scenic beauty. Rome acknowledges the significant contributions of several individuals and groups to her professional journey. She expresses gratitude for the support of her husband and family, who provide her with the freedom and encouragement to pursue her demanding career. Her team also receives recognition, as she states that she could not achieve her goals without their collaboration and dedication. Additionally, she values her fellow interior designer colleagues, who serve as sources of inspiration, guidance, and emotional support during stressful periods. The article also provides contact information for Vanessa Rome Interiors, including her website (vanessaromeinteriors.com) and Instagram handle (@vanessaromeinteriors). The illustrations accompanying the article are credited to photographers Marco Ricca and Julia Lynn. The interview concludes by encouraging readers to nominate other deserving individuals for recognition through Shoutout Miami's platform, reinforcing the community-driven mission of the publication. #InteriorDesign #VanessaRome #Entrepreneurship #NewYorkCity #DesignStudio #WorkEthic #BoutiqueBusiness #PersonalInterview

Lisa Davis, an interior designer known for her work on a Back Bay Mansion featured in Boston Home magazine, shares insights into her career, design philosophy, and a new virtual design program. Davis transitioned into interior design after a career in fashion/retail merchandising, taking courses at RISD in color theory, drafting, and architectural history. She highlights the Boston Design Center as an invaluable resource for its comprehensive offerings, from fabrics to floor coverings. Other favorite vendors include Donghia for modern furnishings, Schumacher for transitional fabrics and wall coverings, and Stark Carpet and Steven King for diverse floor coverings. Davis considers color an indispensable design element, emphasizing its individual impact and using clients' preferred colors as a starting point for projects. Her designs are deeply inspired by travel, which provides visual experiences that build her design consciousness. She recounts a recent trip to Iceland, noting the raw, dark, and textured beauty of the landscape and the ethereal quality of its light as influential. Davis describes her personal aesthetic as a blend of old and new, worn and fresh, and smooth and textured, with a subtle and classic use of textures and patterns. She advises against mixing too many animal prints in one room, stating "only one species per room." She introduces her 'Design by Post' virtual interior design service, aimed at making interior design more accessible. This program allows clients to provide dimensions and design concepts virtually, enabling Davis to assist with floor plans, color schemes, furniture and fabric selections, window treatment designs, and floor and wall coverings. Clients can also order trade-only fabric samples through her. Davis acknowledges the guarded nature of designers when it comes to sharing sources but reveals her go-to custom work specialists. These include Franks Custom Draperies for soft treatments, PHD (Paperhanging and Design) with Greg Kahler for wall covering installations, Partners in Design for re-upholstery and custom upholstery, Art Applications for custom builds and painting, and Boston Binding for carpeting installation and area rug binding. For DIY decorators, Davis advocates for a mindful approach: "choose well, not often." She encourages investing in quality and craftsmanship over time, accumulating a collection of lasting pieces rather than frequently replacing low-quality items. Her preferred projects are those that start from the initial structural elements, like floors, kitchens, and bathrooms, and extend to the final decorative details, such as window treatment trim. This allows her to fully engage her design skills across all aspects of a space, including color, paint, wallpaper, living space planning, electronics placement, lighting control, furniture, upholstery, and accessories. Currently, Davis is working on an office space on Boylston Street, where budget limitations have spurred creative solutions. She expresses impressive satisfaction with the versatility and appearance of IKEA cabinetry, specifically recommending their Besta wall units for various spaces like offices, media rooms, wardrobes, and dressing rooms. This project demonstrates her ability to deliver high-quality design even with cost constraints, leveraging accessible options effectively. #InteriorDesign #LisaDavis #DesignPhilosophy #VirtualDesign #CustomWork #HomeDecor #BostonDesign #DIYDesign #TravelInspiration

The article explores the concept of 'invisible' biophilic design, moving beyond the common association of biophilia solely with the inclusion of plants in architectural spaces. It traces the origin of biophilia from social psychologist Erich Fromm's 'love of life' to biologist Edward Wilson's emphasis on humans' inherent emotional connection to nature, asserting that our evolutionary reliance on natural settings forms the bedrock of biophilic design. The core argument is that while visible natural elements are beneficial, biophilia's true scope encompasses spatial configurations and environmental patterning that subtly yet profoundly influence human psychology and physiology. The piece delves into Stephen Kellert's framework for biophilic design, which categorizes experiences into direct, indirect, and spatial/place-based. The indirect experience includes representations of nature, such as natural materials and patterns inspired by natural forms, offering therapeutic benefits without the maintenance requirements of live plants. The article emphasizes a shift in perspective from designing nature *in* space to designing the *nature of the space*, focusing on spatial arrangements that align with human evolutionary preferences. These 'invisible' principles are shown to reduce stress and improve cognitive performance even in environments lacking overt natural elements. Four key design patterns are identified that fulfill psychological needs through the arrangement of architectural elements, movement choreography, and spatial perception. First, 'Prospect' addresses the innate desire for broad perspectives, achieved through open floor plans, elevated viewpoints, and strategic window placement, which fosters a sense of control and reduces stress. Second, 'Refuge' complements prospect by providing protected spaces offering security while maintaining visual connection to larger areas. These spaces, like alcoves or lowered ceilings, offer psychological comfort and facilitate introverted reflection, particularly beneficial for neurodiverse populations. Third, 'Mystery' engages natural curiosity through partially obscured views, winding paths, or sequenced spaces, leading to dopamine release, enhanced spatial memory, and deeper engagement. Fourth, 'Risk/Peril' introduces identifiable risks with reliable safeguards, like glass floors or cantilevered structures, to induce exhilaration and heighten awareness without compromising safety. The article highlights that spaces embodying these invisible principles implicitly convey a biophilic intent. This approach is presented as a cost-efficient method for promoting occupant well-being, as it primarily relies on spatial arrangement rather than resource-intensive plant maintenance. It encourages architects to consider the occupant's journey and interaction within the space, balancing these four elements to create a dynamic tension that maximizes human well-being, even in constrained environments. Finally, the discussion addresses the issue of 'greenwashing,' arguing that merely adding vegetation without considering evolutionary connections to space diminishes the true potential of biophilic design. It advocates for a comprehensive, interdisciplinary understanding of human-nature connections, moving beyond prescriptive formulas to adapt principles to specific contexts and user needs. The focus on outcome metrics such as stress reduction, cognitive performance, and creativity underscores that invisible spatial qualities can have an equal or greater impact on human experience than visible natural elements, promoting a more holistic and evidence-based approach to biophilic architecture. #BiophilicArchitecture #InvisibleDesign #Wellbeing #HumanNatureConnection #SpatialDesign #ArchitecturalPsychology #EnvironmentalDesign #SustainableArchitecture #DesignPrinciples #HealingSpaces

Cornelia Hahn Oberlander, a prominent landscape architect, is recognized for her extensive contributions to sustainable design and her advocacy for integrating nature into urban environments. Born in Weimar-era Berlin, she experienced a profound connection to nature from a young age, leading her to pursue landscape architecture. Her family's emigration to the United States allowed her to enroll at Smith College, one of the few institutions offering landscape architecture at the time. Subsequently, she attended the Harvard Graduate School of Design in 1944 as one of its first female students, where she was influenced by Walter Gropius and the Bauhaus philosophy, shifting her perspective on landscape design from decorative to abstract and conceptual. Oberlander's career is marked by innovative projects and collaborations with renowned architects like Louis Kahn and Arthur Erickson. Early in her career, she contributed to social housing projects with Kahn in Philadelphia in 1951, which later informed her work on similar projects in Vancouver. After moving to Vancouver in 1953, she found a growing city with ample opportunities to implement her vision. Her first significant local commission was a landscape design for Dr. Sydney Friedman's home, which paved the way for numerous residential and large-scale urban projects. Among her most celebrated works are Robson Square and the Museum of Anthropology in Vancouver, both collaborations with Arthur Erickson. Robson Square, completed in 1983, was designed as an urban oasis, an innovative concept featuring a park built atop a structure housing a courthouse and government offices. Oberlander meticulously selected plants like Japanese maples, pines, magnolias, and rhododendrons, arranging them in a syncopated design that harmonized with Erickson's concrete architecture, creating a therapeutic and aesthetically pleasing urban space. Her work at the Museum of Anthropology extended the First Nations collection into an ethno-botanical meadow, further showcasing her commitment to culturally and ecologically sensitive design. Oberlander was an early proponent of rewilding, community engagement, pedestrian-friendly urban planning, and creative playgrounds. Her influence extends globally, with projects such as the Canadian embassy in Berlin and designs for The New York Times building. Despite her age, she remains an active advocate for environmental protection and liveable landscapes. She is currently involved in projects like designing plantings for Shigeru Ban's Terrace House and a new public roof garden for Moshe Safdie's Vancouver Public Library. Residing in her 1970 Vancouver post-and-beam home, designed to float over a ravine, Oberlander emphasizes the therapeutic effects of greenery. She and her husband won the lot in the University of British Columbia Endowment Lands for their environmentally sensitive design. She believes that beautiful and meaningful landscapes are essential for human well-being and social justice. Oberlander's dedication to sustainable practices and her commitment to healing cities through enlightened urban design continue to inspire, even as she addresses contemporary challenges like housing crises and dwindling green spaces in Vancouver. #LandscapeArchitecture #SustainableDesign #UrbanPlanning #CorneliaHahnOberlander #EnvironmentalAdvocacy #ModernistDesign #VancouverArchitecture #GreenCities #PublicSpaceDesign

The article explores the intricate relationship between architecture and human behavior, highlighting the necessity of integrating anthropological insights into architectural design. It posits that a deep understanding of human societies, cultures, and their development over time, as studied in anthropology, is crucial for creating spaces that genuinely enhance well-being, productivity, and social engagement. Traditional architectural practices, while adept at influencing behavior, often fall short in anticipating and reacting to the nuanced ways occupants interact with their environments. This gap can be bridged by adopting a user-centered design approach, which considers cultural sensitivity and social equity from the outset. Key areas where anthropological knowledge can inform architectural design include understanding spatial patterns, social interactions, cultural symbols, and environmental perceptions. Spatial patterns, for instance, dictate how individuals and groups navigate and occupy spaces, influencing privacy, community, and hierarchy. Architects can design layouts that either encourage or discourage specific social dynamics by observing these patterns. Social interactions are profoundly shaped by physical environments, with open and flexible spaces fostering collaboration, while more enclosed areas promote focused work or personal reflection. Cultural symbols embedded within architectural elements, such as specific materials, colors, or decorative motifs, can evoke feelings of belonging, identity, or reverence, making a space resonate more deeply with its users. Furthermore, environmental perceptions, including sensory experiences like light, sound, and temperature, directly impact human comfort and mood. Anthropological studies reveal how different cultures perceive and value these elements, allowing architects to tailor environments that align with diverse user expectations and physiological responses. The article emphasizes that this interdisciplinary approach moves beyond mere functional design to create spaces that are not only aesthetically pleasing but also profoundly meaningful and responsive to the human condition. It underscores the importance of a continuous feedback loop, where architects observe and learn from the post-occupancy behavior of users, allowing for adaptive and evolving design strategies. This iterative process ensures that architectural designs remain relevant and effective in supporting the complex tapestry of human life. The article also touches upon the ethical considerations inherent in designing spaces that influence behavior. It advocates for an approach that respects human autonomy and promotes inclusive environments, rather than attempting to control or manipulate occupants. By prioritizing user needs and cultural contexts, architects can create resilient and adaptable spaces that serve diverse communities. The integration of anthropological methods, such as ethnographic research and participatory design workshops, can provide architects with rich, qualitative data that complements quantitative analyses, leading to more holistic and empathetic design solutions. This collaborative effort between architects and anthropologists promises to yield environments that are not only structurally sound and functionally efficient but also deeply human-centric, fostering positive interactions and a sense of place. #Architecture #HumanBehavior #Anthropology #CulturalContext #UserCenteredDesign #SpatialPsychology #EnvironmentalPerception #SocialEngagement #CulturalSensitivity

Mingfei Liu's journey into spatial design began in middle school, where she systematically pursued fine arts with the aspiration of becoming an artist. This foundation led her to specialize in Environmental Art during college, drawing her towards spatial design, a field she decided to delve into more deeply. She views art as the fundamental backbone of interior design, inspiring the conceptual drawings and imagery developed during the research and development phases of her projects. Liu emphasizes that interior designers frequently draw inspiration from diverse art forms when working with architectural structures or interior spaces. While acknowledging the distinctions between art and design, she also highlights their significant overlap, often integrating artistic elements like visual focus, informed by a comprehensive understanding of the space, into her creations. The artistic atmosphere surrounding her from a young age profoundly influenced her, fostering a lifelong ambition to contribute to the art industry. She is currently working towards establishing her own business to realize this dream. Her professional path, spanning over a decade, has been characterized by challenges and immense personal growth. After studying professional painting in junior high school and majoring in interior design in college, Liu established her own design studio. This journey was demanding, requiring unwavering commitment to her initial goals to build a reputable standing in the field. A positive attitude served as a crucial motivator during difficult periods, sustained by her enduring passion for her craft. Overcoming obstacles necessitated not only a resilient mindset but also tenacity. She takes pride in the fact that her primary focus is not commercial gain but the profound joy derived from artistic creation. When contemplating an ideal itinerary for a visiting friend, Liu gravitates towards natural scenic spots, appreciating the unexpected discoveries that mirror the creative process in design. She finds parallels between the sudden unveiling of beautiful landscapes, nostalgic scenes, and natural environments during a journey and the emergence of sparks of inspiration during the initial brainstorming stages of a design project. These unexpected inspirations often become the highlights of the final design, facilitated by divergent thinking and free association, much like unforeseen discoveries while traveling. Liu credits her participation in various design competitions and international exhibitions with significantly shaping her perspective on art and design. Engaging with designers from diverse industries and cultural backgrounds, and observing their exceptional work, has taught her that there isn't a universal standard for good design. She holds Leonardo Da Vinci in high admiration, inspired by his prolific contributions across art, science, and military disciplines. Drawing from Da Vinci’s scientific perspectives, she has developed a deeper understanding of how to integrate mathematics and aesthetics into her work. For Liu, spatial design inherently bestows beauty upon people through its functionality and symbolic meaning. #SpatialDesign #EnvironmentalArt #InteriorDesign #CreativePath #ArtisticCreation #DesignJourney #NaturalInspiration #LeonardoDaVinci #AestheticsAndFunction

The article emphasizes the transformative power of design in real estate, asserting that innovative design can significantly impact business growth, create value, and help organizations achieve their strategic objectives. It highlights JLL's approach to design, focusing on creating human-centric experiences that are both functional and inspiring. This comprehensive design philosophy aims to meet diverse client needs, ranging from corporate workplaces to retail environments. JLL's design services are structured around three core principles: actionable insights, future-focused design, and comprehensive solutions. Actionable insights involve leveraging data-driven business intelligence to formulate a design strategy centered on the needs of people. This approach ensures that design decisions are informed by concrete data, leading to spaces that are not only aesthetically pleasing but also highly effective and aligned with organizational goals. By understanding user behavior and preferences, JLL aims to create environments that enhance productivity, well-being, and overall satisfaction. Future-focused design is another critical aspect, focusing on creating spaces that are adaptable and sustainable over time. This involves anticipating future trends and technological advancements, ensuring that the designed spaces can evolve and remain relevant in a rapidly changing world. The emphasis is on blending innovation with foresight, thereby creating enduring value for clients. This proactive approach helps clients avoid premature obsolescence and ensures their real estate assets continue to serve their needs effectively for years to come. Comprehensive solutions involve crafting tailored workplace and retail experiences through meticulous analysis of client needs. JLL's team designs environments that inspire users and drive business success at any scale, whether it's a new office layout, a retail store revamp, or a large-scale development project. The article showcases several client stories that exemplify JLL's design capabilities. For instance, JLL assisted Bob’s Discount Furniture in reimagining their in-store experience to facilitate nationwide expansion, demonstrating how design can directly support business growth and market reach. Similarly, ALDI's "Modern Market" project redefined the new-generation shopping experience by introducing innovative in-store journeys and facilitating widespread store rollouts, highlighting design's role in enhancing customer engagement and brand perception. Furthermore, the article points to JLL's own East Bay office as a testament to thoughtful design, integrating sustainability, functionality, and local community aesthetics. This internal project underscores JLL's commitment to practicing what it preaches, creating an office space that reflects contemporary design principles and supports employee well-being. Another client story details how AVI-SPL, a global collaboration technology provider, partnered with JLL to create a tech-driven office space aimed at boosting team collaboration, illustrating the integration of technology and design to foster a productive work environment. JLL also shares its outlook on top trends influencing the design of places and spaces for 2025 and beyond, indicating a forward-thinking approach to design that considers emerging societal and technological shifts. The article concludes by inviting potential clients to contact JLL's design experts, such as Stephen Jay, Global Design Advisory Retail and Branding Lead, to explore how their services can transform real estate challenges into strategic advantages, optimize portfolios, and enhance value and performance. #DesignSolutions #RealEstateDesign #WorkplaceStrategy #RetailExperience #FutureOfSpaces #ClientStories #ProjectManagement #SustainableDesign #Innovation

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