The 9th Cut: Where Vision Meets Craft

In a period marked by global confinement and escalating concerns over environmental destruction, a new wave of visual artists is leveraging 3D rendering to construct utopian and fantastical environments. These digital creations, ranging from ethereal seaside homes to surreal, pastel-hued dreamscapes, have gained considerable popularity as individuals seek imaginative escapes from their daily realities. This trend is further fueled by the pervasive influence of the coronavirus pandemic, which has amplified the desire for alternate realities and a change of scenery, even if purely fictional. These digital spaces are not merely aesthetic exercises; they serve as a powerful outlet for imagination and a response to the contemporary need for escapism. Prominent figures in this emerging field, such as Paul Milinski of Vaulter and interior designer Charlotte Taylor, highlight the growing demand for these imaginative renderings. Taylor, who often collaborates with 3D artists to actualize her conceptual spaces, notes that these utopian settings tap into a fundamental human desire for novelty and wonder. This sentiment was evident during events like Offsite Online, a virtual design fair where designers, unable to physically produce and photograph their work, collaborated with visualizers to create digital photoshoots. This collaboration led to the emergence of highly imaginative and fantastical spaces, demonstrating the adaptability and creative potential of digital visualization in the design industry. The featured artists showcase a diverse range of approaches to creating these fantasy worlds. Charlotte Taylor, in collaboration with Riccardo Fornoni of Cream Atelier, envisions Villa Saraceni, an oceanside home seemingly carved from chalky white stone, blending realistic details with fictional architecture. Andrés Reisinger's work explores dreamlike spaces, such as a lilac room with an eye-shaped portal, emphasizing emotional connection over strict realism, and demonstrating how digital concepts can manifest in physical forms, as seen with his Hortensia Chair. Alexis Christodoulou, influenced by video game aesthetics, crafts sophisticated sun-dappled scenes with circular pools and craggy boulders, seeking to evolve the genre beyond conventional fantasy and sci-fi tropes. Barcelona-based Six N Five studio draws inspiration from Japanese culture to create tranquil tatami mat-lined rooms overlooking meticulously pruned gardens, designed to invite relaxation and meditation. Stefano Giacomello presents a striking living room against a rugged rock face, where furnishings appear bathed in intense desert sunlight, reflecting his minimalist and evolving aesthetic. Mue Studio's "Somewhere in the World" series offers idyllic, potentially nonexistent global locations, aiming to provide a peaceful 'rest stop' for viewers navigating a digitally saturated world. Kefan Weng, drawing inspiration from cinematic architecture and dreams, creates oddly scaled buildings hovering over dark waters, emphasizing the audience's individual interpretation. Paul Milinski designs whimsical scenes like "Work Party," filled with playful elements such as oversized balls and a blush pink sofa, intending to evoke infectious high spirits and transport viewers to potential future inspirations. Lastly, Davit and Mary Jilavyan's Sonora Art Village project features vibrant, geometric buildings and spiky cacti under blue skies, presenting an imaginary community in Mexico that offers a vivid contrast to the 'grey reality' of the pandemic. These artists collectively demonstrate the power of 3D rendering to fulfill the contemporary need for escapism, imagination, and utopian visions in design and art. #DigitalArt #3DRendering #FantasyInteriors #UtopianDesign #EscapistArchitecture #VisualArt #ArchitecturalVisualization #InteriorDesign #CreativeRendering

The 'Connected' project, a collaboration between British furniture brand Benchmark and the American Hardwood Export Council (AHEC), emerged from the unique challenges posed by a global pandemic. This initiative brought together nine designers to create furniture pieces aimed at enhancing the working-from-home experience. A significant aspect of this project was the designers' inability to physically visit the workshop or interact directly with their creations, necessitating reliance on remote communication tools like Zoom and WhatsApp, and a considerable degree of trust in the craftspeople at Benchmark. Sean Sutcliffe, co-founder of Benchmark, highlighted the increased leap of faith required from designers in trusting the technical, visual, and sensory aspects of the craftsmanship without in-person observation. An example of the innovative problem-solving employed by Benchmark is demonstrated in Studio Swine’s chair, which required its red oak and cherry wood components to be submerged in the River Kennet for a week to facilitate steam-bending. This resourcefulness is characteristic of Benchmark's workshop, which boasts 58 skilled craftspeople. Sabine Marcelis, a Wallpaper* Designer of the Year, praised Benchmark's willingness to push creative and technical boundaries, a stark contrast to the limitations often encountered with other manufacturers. Marcelis's contribution to 'Connected' is the 'Candy Cubicle,' a maple-veneer box designed to conceal home-working tools, including her partner’s monitor, with a surprising acid-yellow interior. Sustainability is a core principle of 'Connected,' mirroring previous collaborations between AHEC and Benchmark. Designers selected from red oak, maple, and cherry—woods that represent 40 percent of American hardwood forests but are often underutilized. David Venables, European director at AHEC, explained the council's mission to reintroduce these 'unfashionable' woods to designers and consumers, thereby promoting the sustainable use of all natural resources. The project underscores how consumer choices influence forest composition, advocating for a broader appreciation of timber species beyond the obvious choices. The pandemic and the chosen materials appear to have fostered a renewed appreciation for nature among the designers. Works range from Thomas Heatherwick’s biomimicry-inspired maple planters to Studiopepe’s 'Pink Moon' chair, reflecting a collective desire to connect with the natural world. Despite a common theme of natural inspiration, each designer's individuality is evident. Maria Bruun created a Scandinavian-style table from rippled maple, while Jaime Hayon’s 'Mesamachine' showcases complex, humorous, and movable cherry wood components. Ini Archibong's 'The Gate,' an outdoor collection, draws inspiration from the Giant’s Causeway, featuring a hexagonal plinth of red oak and cherry and a green-lacquered red oak top with brass inlays. Maria Jeglinska-Adamczewska's seat utilizes barrel-making techniques for its curved form, and Sebastian Herkner designed 'Stammtisch,' a modern Lazy Susan with sliding trays made from various woods and finishes. The designers will see their completed pieces in person for the first time at London's Design Museum, where 'Connected' will be exhibited from September 11 to October 11. This exhibition marks the culmination of a project that navigated unprecedented challenges through remote collaboration, trust, and a shared commitment to design and sustainability. #FurnitureDesign #Woodworking #RemoteCollaboration #SustainableDesign #HomeOffice #Craftsmanship #DesignMuseum #HardwoodExports #InteriorInnovation

This blog post showcases the intriguing work of Felice Varini, a Swiss-born artist renowned for his unique optical art installations. Varini's artistic approach involves creating geometric patterns that appear to float in space when viewed from a very specific vantage point. These ephemeral designs are often applied directly to architectural surfaces, both indoors and outdoors, transforming the perception of the environment. The article highlights that Varini uses a light projector to precisely plot these figures onto walls and other structures before meticulously painting or adhering them. The magic of his work lies in its dependence on the viewer's position; from most angles, the patterns appear as fragmented, illogical scribbles or disjointed shapes across various surfaces. However, upon finding the designated viewpoint, these disparate elements coalesce into perfect geometric forms, such as circles, squares, or lines, creating a powerful illusion of three-dimensionality. Several examples of Varini's work are presented, illustrating the diversity of his installations and the impact they have on their surroundings. One instance described involves an art piece in Cardiff Bay, where seemingly random markings on a structure resolve into a coherent design from a particular perspective. Another example shows abstract lines and shapes within a museum setting, which, from afar, form a unified artistic statement. The article also mentions a prominent red line running around a museum, suggesting how Varini integrates his art with existing architecture to alter spatial perception. Further examples include patterns applied to a piano, creating a fringed effect, and other seemingly chaotic lines that resolve into defined geometric shapes. The art is not confined to indoor spaces; the blog notes its appearance in townscapes, where large-scale installations interact with urban environments. The beauty of the reflections of these patterns on floors is also highlighted, adding another layer to the visual experience. The diverse illustrations demonstrate how these artworks, initially resembling mere sticky tape or random markings from a casual glance, reveal their intricate design and purpose when viewed from the correct angle. The blog concludes by encouraging readers to explore more of Felice Varini's extensive portfolio on his official website, providing links for further immersion into his captivating world of optical illusions and architectural interventions. #FeliceVarini #OpticalArt #GeometricPatterns #InstallationArt #ArchitecturalArt #Illusion #PublicArt #VisualPerception #ContemporaryArt

This article details the journey of Amy and Bruce Paul in designing and decorating their 11,000-square-foot home in Rye, New York, focusing on integrating their extensive art collection into a cohesive interior design. Having previously lived in a post-modern home with traditional furnishings and a growing contemporary art collection, the Pauls sought to create a new residence where the exterior architecture and interior aesthetics were harmoniously aligned with their personal taste in design and art. Their objective was to construct a home that could comfortably accommodate their family of six while optimally showcasing their practiced and perfected collection of paintings and sculptures. The couple acquired a 13-acre estate in Rye before the 2001 World Trade Center attacks, subdividing it into seven lots and reserving a two-plus-acre parcel for their own home. They collaborated with builder Michael DiChiaro to construct a six-bedroom, seven-full-bath residence that offers views of a wooded yard, later enhanced with a pool and waterfall by Coral Sea Pools, and adorned with bronze sculptures by Mexican artist Bruno Luna. For the interior design, Amy Paul enlisted Joseph R. Stabile of J.R. Cattington, who had previously worked with them. Stabile and his team were involved from the ground up, providing input on architectural design, interior finishes, electrical layouts, and lighting selection. Stabile chose a palette of cream and gold to complement the Pauls' artwork and suggested structural modifications, such as adding a doorway to improve flow in the formal living room. Amy's primary design directive was for a "light and bright" home, which was achieved in the living room through buttery gold satin-striped fabric from Robert Allen for window treatments and crystal wall sconces by Crystorama. This room serves as a gallery for various notable paintings, including works by Janet Treby, Liane Abrieu, and Russian artists. The soft color scheme is accented by silk brocade wing chairs with colorful throw pillows and fuchsia and silk rugs from China. The family room continues the luminous theme with yellow walls, a toile pattern by Antonia Vella, Seabrook wallcoverings, and similarly colored fabrics in lemon, green, and persimmon for window treatments, pillows, and side chairs. Crystal chandeliers from Murano, imported by Castilian Imports, were chosen to coordinate with paintings by Isaac Maimon and Charles Levier. The coffered ceiling in a green apple shade with cream-colored woodwork further enhances the vibrant, garden-like atmosphere. Bruce Paul's personal space, a clubby card room, contrasts with Amy's preferences, featuring dark wood paneling, built-in bookcases, a bar, and masculine fabrics. This room, separated from the family room by a stone-front fireplace, includes Biedermeier chairs with leopard-print fabric and various personal artifacts. Stabile designed the fireplace with intricately carved mahogany lions and used a Serengeti Leopard carpet to connect Bruce’s adjoining office. The Pauls' children, Joanna, Ryan, Matt, and Jason, also contributed to the design of their respective bedrooms and bathrooms, incorporating elements such as Masland Carpets, Bernhardt furnishings, and Thibaut wallpapers. The master bedroom, with its vaulted ceiling, presented a challenge in scale, addressed by Stabile using Highland Court silk brocade for a cornice "headboard" that coordinates with custom curtains. The article highlights the Pauls' passion for art collection, which began with a French artist Charles Levier painting and expanded to include works from their travels to Europe, South America, Asia, and the Southwest. Despite concerns about diminishing wall space, their quest for art, driven by personal connection and memories from their travels, continues. #HomeDesign #InteriorDecor #ArtCollection #LuxuryHome #RyeResidence #JosephStabile #CustomDesign #ArchitecturalFeatures #PersonalStyle

Village Handcrafted Cabinetry, a company based in Lansdale, Pennsylvania, has been creating custom cabinetry and wood products for over three decades. Founded by Joseph Trave, the business specializes in designing, building, finishing, and installing a wide range of custom items, including bathroom vanities, cabinet doors, kitchen cabinets, pantries, and walk-in closets. The company caters primarily to mid- to high-end residential clients, working with designers, builders, remodelers, and a small percentage of retail customers. Joseph Trave's passion for woodworking began at a young age, leading him to establish the company in 2000. Starting from a 400-square-foot garage, the business has expanded significantly to occupy over 60,000 square feet of manufacturing space. In 2003, Trave acquired another local cabinetmaker's business, Village Woodshop, integrating its machinery and employees. The company later moved to Lansdale in 2006, establishing a showroom and a larger production facility. Over the years, the company has navigated economic challenges, including recessions and a pandemic, through the dedicated efforts of its four-person management team, which includes Joseph Trave as CEO, his wife Gina as director of marketing, Gary Marks as director of finance and purchasing, and Jennifer Marks as director of Human Resources/payroll. Village Handcrafted Cabinetry prides itself on its ability to produce custom products entirely in-house. All cabinet construction utilizes mortise and tenon joinery. The company also produces its own moldings, offering an extensive library of 1,200 profiles and the capability to create custom profiles to match existing designs. The manufacturing process incorporates advanced technology, including CNC equipment for both panel processing and solid-wood machining. Automated loaders and unloaders are used with their Stratos 3-axis machining center and Weeke Vantage 2000 CNC processing center, facilitating efficient production of nested panels and raised panel doors. Further technological investments include TigerStop stations for producing stiles and rails, and a miter fold machine for creating precisely joined corners and face frames. For sanding, the company uses a Timesavers multi-head flat sander and an MB Roba Tech sander, which is capable of sanding both flat and profiled parts. A sophisticated dust collection system gathers sawdust, which is then burned to provide heat for the facility during winter, showcasing an environmentally conscious approach to waste management. The company also features an in-house finishing lab, referred to as the “finishing kitchen,” where skilled artisans perform custom color matching. Clients often present complex finishing challenges, and the team meticulously creates samples under bright lights to ensure exact color replication, with both the company and the client retaining a sample for consistency. A newer addition is a small in-house metalworking shop, which handles minor fabrication for items like hoods and floating shelves, ensuring proper separation from woodworking operations for safety. Despite its current 60,000 square feet of production space, the company produces approximately seven to ten kitchens per week and is exploring further growth opportunities, including potential acquisitions or additional facilities. #cabinetry #customCabinets #woodworking #CNCManufacturing #residentialDesign #kitchenDesign #handcraftedLook #productionEfficiency #woodDustCollection

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

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

The exhibition “Je Marchais Pieds Nus Dans L’Étang” by Vincenzo De Cotiis, presented at Carpenters Workshop Gallery in New York City, features a collection of 50 unique works that blur the lines between design and art. This multi-piece spatial composition draws inspiration from Claude Monet’s later water lily landscapes, which became increasingly abstract, translating the ethereal quality of a lily pond into a sculptural experience. The exhibition, whose title translates to “I Walked Barefoot in the Pond,” creates an immersive environment composed of cast white bronze and hand-painted sculpted Murano glass, inviting viewers to experience a marshy dreamscape. The works are characterized by their organic yet slightly sci-fi aesthetic, embracing a duality that De Cotiis describes as both “serene and restless.” Skeletal stems and polished surfaces evoke both natural forms and alien structures, generating a tension between solidity and translucence, stillness and movement. A specially curated ambient soundtrack enhances the meditative atmosphere, encouraging a slow and contemplative viewing experience. Julien Lombrail and Loïc Le Gaillard, founders of Carpenters Workshop Gallery, explain that De Cotiis reimagines Monet's timeless masterpiece through a contemporary sculptural language. The exhibition functions as a cohesive installation, where individual artworks contribute to an overall landscape effect, yet each piece retains its unique significance and identity. The artists discuss how the exhibition primarily explores material transformation, with sculptures appearing as enigmatic creatures with distorted forms and surreal, skeletal stems, reminiscent of water lilies moving beneath the surface. This dynamic spatial composition is designed to make viewers perceive objects differently as they move through the installation, exploring how memory and perception can be distorted or transformed. The use of painted Murano glass and cast white bronze captures the essence of water, with light refracting across the surfaces to create an interplay of opacity and translucency. The exhibition also presents a contemplative counterpoint to the fast-paced urban environment of New York, inviting viewers to slow down and reconnect with the transformative power of nature. By recreating the sensation of a pond with ethereal creatures, the installation encourages a deeper consideration of environmental forces. De Cotiis is noted for his distinctive sculptural language, which merges ancient idioms with futuristic forms. His approach to materials creates otherworldly, reflective surfaces, transforming imperfections and patinas into elements of beauty. In a contemporary design landscape that constantly reinvents age-old materials, De Cotiis suggests that crafted objects can exist simultaneously as timeworn relics and visions of future worlds, pushing the boundaries of collectible design and sculptural practice. #VincenzoDeCotiis #CarpentersWorkshopGallery #SculpturalDesign #ContemporaryArt #MaterialTransformation #Exhibition #MonetInfluence #ImmersiveExperience #CollectibleDesign

The article discusses the architectural installation "Spirit of the City" by London-based United Visual Artists (UVA) at A/D/O in New York, presented during New York Design Week. This installation is a collaboration with Mini, hosted in their innovative creative space, A/D/O. The primary goal of the installation is to offer a reflective experience within the dynamic urban environment, metaphorically and physically mirroring its surroundings and New York City at large. The installation consists of 9-foot-high modular columns that revolve, creating an immersive experience for visitors. The rotation patterns are not arbitrary; they are based on extensive research into human activity within the city. This research allowed UVA to develop a 24-hour algorithm that dictates the movement of the columns, transitioning from tranquil rhythms to more urgent, dynamic movements. As visitors navigate the space around these colossal totems, they can observe subtle shadows cast onto the ground, forming intricate, poetic patterns that respond to the kinetic energy of the columns. The surface of the columns themselves presents varying perspectives, shifting from serene sky blues to the grittier, industrial aesthetics of A/D/O's creative hub. This visual transformation further emphasizes the interplay between the installation and its urban backdrop. UVA, founded in 2003, is known for its art practice that integrates technology to create experiences that often extend beyond conventional physical boundaries. Their previous works have been showcased globally in prestigious institutions such as the Victoria and Albert Museum and YCAM in Japan. Matt Clark, founder of UVA, poses a fundamental question through "Spirit of the City": do human activities shape urban landscapes, or do urban landscapes, in turn, define human activities? This philosophical inquiry underpins the interactive and reflective nature of the installation. A/D/O itself, located in a converted warehouse in Brooklyn, opened the previous year, featuring a diverse array of design-focused retail, bars, and restaurants, aligning with Mini's broader design agenda. Mini's head of brand strategy and business innovation, Esther Bahne, states that Mini believes in design's capacity to foster a more humane world. A/D/O initially launched with Design Academy, a three-day festival for professional designers to explore cultural themes. "Spirit of the City" marks the space's first major showcase for NYCxDesign since its opening and was on display until 2 September. The installation, through its thoughtful design and interactive elements, invites contemplation on the symbiotic relationship between people and their urban surroundings. #NewYorkDesignWeek #ArchitecturalInstallation #UnitedVisualArtists #UrbanEnvironment #AdoSpace #MiniCollaboration #KineticArt #PublicArt

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

This weekly blog post, "OBSESSED," curated by KQED Arts, features a collection of trending topics and personal fascinations from various staff members. The recurring segment covers diverse subjects ranging from nostalgic advertising and contemporary art installations to historical artifacts and pop culture phenomena, aiming to bring watercooler conversations into the digital space. Each staff member contributes a brief, enthusiastic commentary on something they've recently found captivating. Emma Silvers, Producer for The Do List, highlights a resurfaced Sizzler commercial from 1991. She describes it as an advertising triumph due to its unusually long runtime of four and a half minutes and its peculiar tone, which she likens more to a political campaign or Cialis ad than a restaurant commercial. The commercial features smooth sax music and soft-focus shots of individuals engaged in patriotic activities, culminating in a jingle emphasizing "choices and selections." Silvers expresses admiration for the ad's unique approach and its unexpected messaging, suggesting it offers a commentary on freedom of choice. Sarah Hotchkiss, Visual Arts Editor, introduces Leah Rosenberg’s "Chromophilia" project at Irving Street Projects. Rosenberg, an artist and pastry chef, is engaged in a three-month residency titled "Everyday, a color." Daily, she selects a color inspired by the Outer Sunset neighborhood and applies layers of this color to two walls, a section of the floor, a table, a vase, a chair, and a notebook. This process creates a continually evolving, monochromatic display where the paint gains physical depth, forming "paint icicles." Past color choices have included "ocean mist," "purple crab," and "mint graffiti." Visitors are encouraged to observe Rosenberg at work or even contribute to the painting, and to consider the psychological impact of color, specifically the “rosy hue of ‘happy hour’.” Emmanuel Hapsis, Editor at KQED Pop, shares his fascination with a space quilt from the 1800s. Made by Ellen Harding Baker of Cedar County, Iowa, in 1876, the quilt served as a visual aid for her astronomy lectures. Now part of the Smithsonian's collection, this historical artifact reflects a long-standing human obsession with space. Hapsis also recommends a New Yorker article that draws parallels between Mars exploration and 19th-century polar expeditions. Kristin Farr, Producer for Art School, discusses the set design for the MTV Movie Awards, which featured the work of Australian artist duo Dabs Myla. The entire stage and even the golden popcorn awards were transformed by their bold and colorful artwork. Farr describes Dabs Myla as artists whose personalities are as vibrant as their art, noting their ability to create large-scale immersive installations with apparent ease. She credits their contribution with making the MTV Movie Awards feel relevant again and directs readers to additional photos and an interview with the artists on Juxtapoz. Kevin Jones, Producer for KQED Arts, finds humor and relatability in the Instagram account "Crazy Jewish Mom." As a parent, he sees the account as a humorous and endearing portrayal of a mother-daughter relationship, particularly the mother's constant, albeit well-intentioned, harassment of her adult daughter. The account features jokes with Jewish themes, persistent efforts to find a boyfriend for her daughter (even when she's not single), and quirky advice like reminding her to do kegels. Jones views this dynamic as a loving and amusing aspect of parenting, anticipating similar interactions with his own children as they grow older. Carly Severn, Social Media Specialist for KQED, expresses her apprehension regarding the trailer for "True Detective" Season 2. Having been a fan of the first season, she initially lowered her expectations but was still taken aback by what she perceived as the trailer's poor quality. She critiques the generic ballad playing in the background, Vince Vaughn’s strained acting, and Colin Farrell’s mustache and constant weeping. The trailer's lack of dialogue leads her to suspect that the second season might amplify the first season’s negative aspects, such as extended conversations in dark bars, detectives with marital issues, and frequent visits to strip clubs. Despite her criticisms, Severn admits she will still watch every episode, reflecting a common dedication to ongoing series. #artsAndCulture #popCulture #visualArts #advertising #historicalArtifacts #quiltArt #spaceExploration #television #parenting

Petra, a new showroom founded by Monica Khemsurov, co-founder of Sight Unseen, made its debut at NYCxDESIGN, introducing a curated collection of artistic hardware. The brand aims to revitalize the popularity of sculptural hardware designs, drawing inspiration from Khemsurov's observations during her travels. Petra focuses on offering select boutique hardware pieces and exclusive, commissioned works from independent designers, emphasizing architectural detail and artistry. The inaugural collection features hardware from 27 designers and brands, providing solutions for various applications including cabinet knobs, drawer pulls, door handles, switch plates, appliance handles, curtain tiebacks, and towel bars. A notable inclusion in this debut is a new line of hardware from designer Pamela Love, which showcases hand-carved cabinet knobs in organic forms such as eyes, pomegranates, and urns. The collection also highlights historical designs through licensed reproductions from BD Barcelona, featuring knobs and handles originally crafted by Antoni Gaudí for buildings constructed between 1902 and 1910, as well as Salvador Dali’s intricate 1937 Rinoceróntico door handle. Petra distinguishes itself through its commitment to expressive hardware, both in aesthetic and conceptual terms. The brand's offerings largely consist of small-batch, handmade fixtures designed to serve as distinctive elements within interior spaces, differentiating them from mass-market options. While some pieces function as elevated basics, many are intended to be statement pieces, reflecting a fusion of art and functionality in everyday hardware. The initiative seeks to elevate the role of hardware in interior design, transforming utilitarian objects into points of artistic expression and focal points within a room. The curated selection suggests a move towards hardware that not only performs its function but also contributes significantly to the overall design narrative of a space. #NYCxDESIGN #ArtisticHardware #HomeFurnishings #InteriorDesign #MonicaKhemsurov #PamelaLove #SculpturalDesign #DesignerHardware

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

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

The article reviews "Every Wall is a Door," Superblue Miami’s inaugural exhibition, which features large-scale, immersive artworks by teamLab, James Turrell, and Es Devlin. The exhibition builds upon the visionary ideas of new media pioneer Stan VanDerBeek, who in 1966 envisioned "intermedia experience machines" that would help people process the rapid changes brought by technological innovation. VanDerBeek believed in the importance of artistically cultivated experiences to foster a new, shared vocabulary, incorporating concepts from ecology and cybernetics alongside immersive and collective audience participation. teamLab, a Tokyo-based collective of over 400 "ultra-technologists," is presented as a modern-day realization of VanDerBeek's vision. Their interactive digital installations, such as _Flowers and People, Cannot be Controlled but Live Together - Transcending Boundaries, A Whole Year per Hour_ and _Universe of Water Particles, Transcending Boundaries_ (both 2017), are central to the exhibition. These works utilize darkened rooms, large-scale projections, and intricate visual effects to create immersive environments where visitor participation directly influences the artwork. Flower petals and water particles respond to movement, and luminous flora and swirling streams contribute to a sensuous, expansive illusion accompanied by a dreamy soundtrack. The collective's populist approach encourages audience engagement, ranging from taking selfies to observing the evolving scenery, effectively transforming the gallery into a technologically enhanced "black-box" where art is "democratized." In contrast to teamLab’s vibrant sensory overload, James Turrell’s _AKHU_ (2021) offers a more subdued, perceptual experience. This installation is an iteration of his "Ganzfeld" series, featuring a white chamber that uses high-chroma light to manipulate visual perception. The LED-halo color-cycling is so gradual that it creates an illusion of stillness and ambiguity in space and time. Viewers experience shifts in tonality that are products of their own minds, highlighting the role of perceptual agency in art. This piece emphasizes that the lack of conscious control over perception is not a flaw but a core element of the artwork itself. Es Devlin’s _Forest of Us_ (2021), a London-based stage designer's contribution, concludes the exhibition. Visitors first watch a video montage that draws parallels between fractal branching in nature, such as air movement in bronchial passages, and the interconnectedness of humanity with nature. Following this, they enter a recursive, curvilinear mirror-maze with winding corridors, stairwells, and bright white lights that create infinite reflections. The accompanying cinematic sci-fi synths and slow breathing sounds contribute to an ethereal atmosphere. While the thematic link between the video and the maze might become less apparent during the experience, Devlin’s meticulous execution and background in theatrical design are evident in the installation’s visual impact and spatial choreography. Superblue Miami aims to be a next-generation art space dedicated to large-scale, immersive art, seeking to challenge and transform visitors' understanding of themselves and their relationship with the world. The curated route of "Every Wall is a Door" guides guests through a diverse array of experiential poetics, balancing high-tech spectacle with analog immersion. The installations explore themes of illusion, reality, memory, forgetting, and human agency. The ultimate success of Superblue is presented as residing not just in the artworks themselves, but in their capacity to elevate the viewer's aesthetic sensitivity, leading them to recognize the immersive potential of art and everyday life beyond the confines of a traditional museum setting. Steven Pestana, a visual artist and writer, contributed this review, drawing on his background in digital media and art history. #ImmersiveArt #DigitalArt #NewMediaArt #ArtExhibition #InteractiveInstallation #StanVanDerBeek #teamLab #JamesTurrell #EsDevlin #SuperblueMiami

Cuff Studio, based in Los Angeles, has unveiled its Common Ground collection of furniture and lighting as part of the Virtual Design Festival (VDF) x Sight Unseen collaboration. This collection is featured in Offsite Online, a virtual exhibition curated by Sight Unseen, a digital magazine focused on contemporary design. The Common Ground series includes two tables, a bench, an armchair, and a light, all designed to showcase the studio's distinctive design philosophy that merges angular, architectural forms with playful, feminine elements. The studio's co-founder, Kristi Bender, explains that Cuff Studio consistently integrates curves and edges, formality with casualness, and femininity with a sense of 'testosterone' into their designs. This approach is evident in the Arc bench, chair, and console table, which incorporate the classic architectural arch. For the seating designs, this typically masculine architectural element is softened by luxurious leather or pink velvet upholstery. The Arc console table, while possessing a solid volume, features brass-filled channels that allow light to pass through and hand-chiselled grooves on its exterior, providing an organic counterpoint to its geometric shape. Another piece, the Paddle table, modernizes a traditional material, solid oak. The oak is bleached to achieve a clean white tone, and its thick edges are rounded, giving it a playful, substantial silhouette. The Five Track Surface Light, conversely, utilizes a flexible material—rope—which is meticulously wrapped around a rigid, tubular frame. This light fixture can be installed on walls or ceilings and is available in natural white cotton, as well as a variety of other colors. Wendy Schwartz, the other half of Cuff Studio, emphasizes that the collection aims to demonstrate how contrasting design elements can coexist harmoniously, reflecting a broader message of unity. The studio believes that the creative process can bring people together, particularly in a world marked by political polarization. The Common Ground collection was initially launched in early 2020 at the duo's new studio in Hollywood. This launch was intended not just for press or buyers but as a celebration with fellow makers and artisans, fostering in-person connections within the design community in Los Angeles. This initial gathering highlighted the value of direct interaction and shared passion among creatives. #FurnitureDesign #LightingDesign #CuffStudio #VirtualDesignFestival #SightUnseen #InteriorDesign #ContemporaryDesign #ProductLaunch #DesignPhilosophy

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

Bru Textiles, an international fabric supplier founded in 1995, has established itself by prioritizing quality, service, and strategic investment in technological advancement. Recognizing the increasing adoption of augmented and virtual reality in design and manufacturing, and the growing consumer trend of online purchasing, Bru Textiles launched Bru Digital in 2017. This dedicated digital research and development arm, comprising developers, CG artists, designers, and stylists across offices in Belgium and Ukraine, aims to bridge the 'imagination gap' between digital visualizations and physical products. The team's innovative venture, TwinBru, provides a service that offers photorealistic digital twins of Bru's extensive fabric library, rendered onto a diverse range of interior furnishing models. By leveraging the scalable computing power of Amazon Web Services (AWS), Bru has successfully generated hundreds of thousands of high-quality rendered images, solidifying its position as a digital leader within the industry. TwinBru's services extend beyond pre-configured content to include model creation, scene configuration, and rendering. This allows Bru's broad customer base, including manufacturers, designers, architects, wholesalers, and retailers, to apply digital materials from Bru’s fabric library to any model and integrate them into various 3D scenes. The resulting photorealistic images are nearly indistinguishable from professional catalog layouts and can be utilized in both online and offline applications. These applications encompass printed collateral, digital furniture configurators, and virtual reality environments. Ben Brabant, Bru Innovation Consultant, highlighted that TwinBru is setting a new industry standard for digital fabrics. He noted that the ability to quickly render realistic visuals on AWS significantly reduces the decision-making timeline for consumers, particularly for high-value purchases, as projects can be conceptualized without requiring physical fabric samples. Beyond sales, these high-caliber visuals are also valuable for marketing, customer validation, and rapid prototyping, enhancing efficiency for brands. To date, Bru has digitized over 10,000 distinct fabrics through a high-resolution scanning process and offers approximately 40 customizable pre-built assets. Customers also have the option to provide their own models, which TwinBru artists rebuild and optimize for the bespoke digital fabric application process. For each TwinBru render, models and scenes are typically created using Autodesk Maya on local Linux-based workstations. The rendering itself is performed using Chaos Group’s V-Ray on Amazon Elastic Compute Cloud (EC2) Spot Instances, with render management handled by Deadline, an AWS Thinkbox software. Assets are managed via a proprietary internal system and stored on Amazon Simple Storage Service (S3). Koen Verwimp, Bru Lead Software Engineer, emphasized the suitability of AWS for their batch rendering needs, enabling easy scaling without the burden of maintaining physical compute infrastructure. He noted that they have peaked at 400 simultaneous instances on AWS, a significant increase from their five local machines, illustrating the newfound functionality and efficiency gained since migrating from solely on-premises resources. Jurgen Goris, Bru Senior Software Engineer, further elaborated on the increased experimental capacity provided by AWS. He explained that new approaches can be tested by firing up an EC2 instance with minimal cost, eliminating the need for hardware investment and allowing continuous fine-tuning of their AWS usage and workflow integration. #DigitalTextiles #AWSCloud #VirtualReality #AugmentedReality #3DRendering #FabricInnovation #HomeFurnishings #InteriorDesign #ScalableComputing