Suzanne Tick Ventures Into Glass for Skyline Collection

Artist and architect Inés Esnal has unveiled her Prism installation, transforming the lobby of a new residential building in New York City. The artwork utilizes colorful elastic ropes to create intricate triangular formations that serve to filter light, producing a dynamic interplay of vivid colors and optical illusions. This installation provides a stark and compelling contrast to the lobby's existing concrete walls, injecting an element of artistic vibrancy into the otherwise stark architectural setting. The Prism installation is characterized by its use of stretched elastic ropes, meticulously arranged to form geometric patterns. These ropes, varying in color, intersect and overlap, creating a complex web that interacts with the ambient light. As light passes through these colored strands, it is fractured and dispersed, casting a spectrum of hues across the lobby space. This optical phenomenon changes throughout the day, depending on the angle and intensity of natural light, offering a constantly evolving visual experience for residents and visitors. The design intention behind Prism is to introduce an element of surprise and visual engagement within a functional architectural space. By contrasting the inherent rigidity and monochromatic nature of concrete with the fluidity and vibrant palette of the elastic ropes, Esnal challenges conventional perceptions of lobby design. The installation effectively redefines the entrance area, transforming it from a transitional zone into an immersive artistic environment. Esnal's work often explores the relationship between art, architecture, and human perception. In Prism, she employs principles of geometry and optics to manipulate space and light, thereby creating an illusory depth and movement within a static structure. The triangular shapes formed by the ropes evoke the concept of prisms, which are known for their ability to refract light into its constituent colors. This not only imbues the space with aesthetic appeal but also invites viewers to contemplate the scientific and artistic principles at play. The installation aims to enhance the sensory experience of the building's occupants, offering a momentary escape from the urban environment. The selection of elastic ropes as the primary material allows for flexibility in form and an ethereal quality that belies the material's strength. This choice also contributes to the lightweight and seemingly gravity-defying appearance of the artwork, further emphasizing its illusory nature. The vibrant colors chosen are intended to evoke a sense of energy and warmth, counteracting the potentially cold aesthetic of modern concrete architecture. The overall effect is one of harmony between the artistic intervention and the architectural context, demonstrating how art can profoundly alter and enrich built environments. #ArchitecturalInstallation #PublicArt #LobbyDesign #InesEsnal #OpticalIllusions #ElasticRopeArt #NYCArchitecture #ColorTheory #GeometricArt

The Worcester Art Museum's exhibition, "Radiance Rediscovered: Stained Glass by Tiffany and La Farge," explores the works of two prominent Gilded Age artists, Louis Comfort Tiffany and John La Farge, focusing on their contributions to stained glass. The exhibition prominently features several windows commissioned for the Mount Vernon Congregational Church in Boston, which moved to a new location in the Back Bay in the 1890s. The church engaged Tiffany Glass and Decoration Company for its Byzantine-style interior and John La Farge for several stained glass windows. La Farge had previously established his reputation with his interior design for Trinity Church in the 1870s. The featured windows from the Mount Vernon Congregational Church were acquired by the museum after the church closed in 1975. They remained in storage for decades until conservation efforts began in 2017, taking over a year to meticulously restore them. Curated by T. Amanda Lett, a PhD candidate, the exhibition showcases these newly conserved pieces, presenting them in their original brilliance. The show highlights the rivalry between Tiffany and La Farge, both of whom independently patented the use of opalescent glass between 1879 and 1881, a material that became highly fashionable in stained glass design. The exhibition contrasts Tiffany Company's "Angel of the Resurrection" windows, which are attributed to Louis Comfort Tiffany but likely designed by Frederick Wilson, with La Farge's "The Pool at Bethesda" windows. Tiffany's works are characterized by a sweet, lambent quality, depicting an angel in opalescent robes emerging from lilies, framed by Corinthian columns. In contrast, La Farge's "The Pool at Bethesda" windows, illustrating a scene from the Gospel of Saint John, captivate with their dynamic composition and narrative depth. La Farge uses various types of glass to tell the story of an ailing woman and a man awaiting healing, with an angel disturbing the water. He employs irregular shards of colored glass for garments and opalescent glass to give solidity to architectural elements. The artist also ingeniously uses a green canopy to connect the two panels, with the angel's slightly awkward, human-like pose adding to the piece's character. The mirror-like quality of the water below the angel serves as a metaphor for self and spirit, and the depiction of the scene at a critical narrative moment before healing imbues the work with hope, possibly reflecting La Farge's own experiences with ill health. The exhibition further includes additional works to provide a broader context, such as watercolors and a smaller, highly detailed window by La Farge depicting a peacock, created after his trip to Japan and inspired by Asian aesthetics. This particular piece, a technical marvel, incorporates layered plates, unfired paint, colored putties, fused glass, and mosaic elements. The conservation of this peacock window involved distinguishing between intentional cracks and natural degradations over time. While the exhibition is limited in its scope for a comprehensive comparison, especially given that Tiffany himself didn't design the featured "Angel of the Resurrection" windows, it effectively reasserts John La Farge's artistic brilliance and his significant, albeit sometimes overshadowed, contributions to stained glass art. #ArtReview #StainedGlass #TiffanyGlass #JohnLaFarge #WorcesterArtMuseum #GildedAgeArt #ArtConservation #ReligiousArt #OpalescentGlass

New York-based design studio Trueing has unveiled its latest lighting collection, Cerine, at this year's NYCxDesign festival. The collection, which includes two pendants, a floor lamp, and a sconce, features bold, hand-formed chain links made from thick borosilicate glass in a variety of vibrant colors. The Brooklyn studio, co-founded by Aiden Bowman and Josh Metersky, aimed to offer an "interesting spin on the familiar" by reinterpreting traditional chain motifs found in jewelry, industrial settings, and architectural ornamentation. The design draws inspiration from diverse sources, such as delicate golden chain necklaces, robust metal chains seen in shipyards, and the decorative elements on Beaux-Arts building facades. Metersky explains that while chain is a common element in traditional lighting design, Trueing sought to create a fresh interpretation, making the chain itself the focal point rather than merely a functional component. Each individual chain link is precisely seven centimeters wide and twelve centimeters tall, and can be customized in seven opaque or transparent color options to suit various bespoke arrangements. Beyond their aesthetic contribution, the glass chains play a crucial role in the structural integrity of the lights, allowing them to be positioned and held in place. The metal finishes accompanying the glass elements are available in brushed brass, satin or polished nickel, and oil-rubbed bronze, providing a range of complementary material options. Metersky highlights the unique character of the hand-made links, noting that their individual imperfections contribute to a cohesive and natural overall appearance. The Cerine series showcases different applications of these distinctive chains to support mouth-blown glass bulbs. One pendant design uses two hooks to suspend the fixture from the ceiling, creating a significant, inverse-arch-like droop. The sconce variant incorporates three glass links that dangle from a metal arm, which in turn holds the light bulb. The floor lamp design features nine stacked pieces of Carrara marble forming its base, with five pastel pink glass links suspended from an arched arm that supports the glass orb. The glass orb itself can be specified in classic white opaline or a selection of custom colors. Trueing launched the Cerine collection through a partnership with Pas De Calais, a Japanese clothing store situated in Manhattan's Soho district. This collaboration was deemed a natural fit due to the shared design sensibilities between Trueing and the fashion label, both prioritizing purity, nostalgia, and a refined, elemental approach to traditional forms. Bowman emphasized that the collection's essence—recalling traditional design pieces rendered in a reductive manner—aligns perfectly with Pas De Calais's ethos and aesthetic. The Cerine exhibition at 482 Broome Street was open until the end of May, coinciding with NYCxDesign 2019, which ran from May 10th to 22nd. This marks Trueing's second collection, following their debut range launched in January at The Future Perfect in Manhattan. The NYCxDesign festival also featured other notable exhibits, including Workstead and Calico Wallpaper's designs showcased at New York's Arcade Bakery, and an immersive lighting installation by Snarkitecture. Photography for the Cerine collection was provided by Lauren Coleman, with additional images by Alan Tansey for the installation at Pas De Calais. #LightingDesign #GlassChains #NYCxDesign #ProductDesign #InteriorDesign #TrueingStudio #HandFormedGlass #DesignExhibition #CerineCollection

This blog post compiles recent articles and projects from Designboom focusing on the application of glass in art, architecture, and design. The collection highlights the versatility and aesthetic potential of glass, ranging from large-scale public installations to architectural facades and interior elements. The articles showcase how artists and designers are pushing the boundaries of traditional glass use, incorporating it into innovative structures and artistic expressions. Key examples include a luminous forest in Hanoi composed of mirroring steel branches, demonstrating glass's role in creating immersive public art. Another project features an 'invisible Tokyo bar' that utilizes heated, transparent acrylic glass panels to distort reality, illustrating glass's capacity for experiential design. Architecture projects frequently employ glass for facades, as seen in Selgascano's transparent seaside café in China with three parallel glass volumes, and Cossement Cardoso's Helsinki museum concept, which features a textured glass skin forming a curved roof. The DA VÀNG studio in Vietnam also uses 3,000 glass bricks to create a curved, translucent house facade, emphasizing both structural and aesthetic applications. The articles also delve into the use of glass in smaller-scale design and art pieces. For instance, Bottega Veneta's summer show features 'lucid murano blown-glass stools' that mimic sea waves, showcasing glass as a medium for elegant furniture and decor. Artists like Vincent Leroy use floating lenses in an optical mobile, and Ben Tuna transforms a Porsche 911 into an art car with cathedral-inspired stained glass, highlighting the material's artistic adaptability. Sarah Brahim and Ugo Schiavi explore ancient rituals through glass temples and vessels, linking glass to cultural and historical narratives. Further architectural applications include a gradient brick facade by Delmulle Delmulle in a Belgium house, transitioning from terracotta to glass, and Vinklu's triangular prism coffee shop in Romania, using glass to fill narrow urban gaps. SICIS uses decorative glass to create glowing swimming pool surfaces in Cambodian villas, while BBWORKSPACE's Thai café employs iridescent panels to evoke gemstones and refract light. EcoLogicStudio's microbial installation at Triennale Milano reimagines domesticity with glass components, and Apropos Architects use a translucent glass facade for the Czech pavilion at Expo 2025 Osaka, demonstrating its use in significant public structures. Industrial design also features glass, such as Bugatti's Brouillard Coupe, which includes a miniature glass sculpture in its gearshift. Fredrik Nielsen's Stockholm studio explores glass's resistance to fragility and embraces chance in its creation. Atelier Échelle’s lakeside gallery residence subtly integrates glass within dark clay brick structures, harmonizing modern elements with traditional aesthetics. The variety of projects presented collectively underscores glass's multifaceted role in contemporary design, from enhancing visual experiences and light manipulation to contributing to structural integrity and artistic expression across diverse scales and contexts. #GlassArt #GlassDesign #ArchitecturalGlass #PublicInstallations #InteriorDesign #ContemporaryArt #BuildingMaterials #DesignInnovation #SustainableDesign

Dutch designers Scholten & Baijings, in collaboration with Skyline Design, have unveiled a new collection named 'Glass Gradients.' This innovative collection of etched and printed patterns for glass applications is currently being showcased at the NEOCON 2016 design exposition. The primary focus of this collection is to highlight the transparent properties of glass through the application of various innovative techniques, offering novel solutions for interior spaces. The 'Glass Gradients' collection features two distinct geometric forms: a dot and a square. These shapes are meticulously applied to the glass both vertically and horizontally, creating a repetitive pattern across the material's surface. While maintaining the inherent transparency of glass, these precise patterns are designed to introduce a higher level of privacy. This feature provides practical and creative solutions for defining spaces within open-plan layouts, allowing for a balance between openness and seclusion. One of the key aspects of these designs is the subtle incorporation of color variants, which enriches the overall aesthetic and functionality. These color combinations are achieved through an environmental etching process, creating a translucent appearance that allows light to filter through while obscuring direct views. Additionally, an 'ast printing' technique is employed on the opposite side of the glass, further enhancing the visual depth and interplay of opacity and transparency. This combination of techniques allows for dynamic control over visual perception, creating an intriguing interaction between density, scale, and movement within a space. The graphic markings on the glass are intended to redefine spatial contexts, transforming interiors in unexpected ways. The customizable nature of these designs enables them to convey a sense of surprise and dynamic movement, effectively concealing or revealing different aspects of a given space as needed. The grid-like patterns serve as a significant architectural element, promoting flexibility and personalization in how spaces are utilized and perceived. This approach encourages a playful engagement with the environment, allowing users to adapt the glass applications to various design requirements and aesthetic preferences. Overall, the 'Glass Gradients' collection by Scholten & Baijings for Skyline Design represents a thoughtful fusion of artistry and practicality. By leveraging advanced etching and printing technologies, the designers have created a versatile product that can enhance both the visual appeal and functional privacy of interior glass installations. The collection's ability to introduce subtle color, precise geometric patterns, and varying degrees of translucency offers architects and interior designers a powerful tool to shape environments, manage visual access, and add a distinctive design element to contemporary spaces. #ScholtenBaijings #SkylineDesign #GlassGradients #EtchedGlass #PrintedGlass #InteriorDesign #NEOCON2016 #ArchitecturalGlass #PrivacySolutions

The article highlights six new collections that showcase the enduring appeal and versatility of glass in contemporary design. These works demonstrate designers' fascination with the fragile material, utilizing rigorous techniques to create both decorative and functional pieces. The featured collections primarily come from emerging designers who are challenging and elevating traditional glassmaking practices. One of the highlighted collections is Agmes Anniversary, a collaboration between jewelry brand Agmes and glass artist Anthony Bianco of Bianco Light & Space. This collection marks Agmes's sixth anniversary and includes an organically shaped handblown bud vase and a textured small dish, available in various colors, alongside personal accessories that revisit an earlier glass jewelry line. Another notable collection is PhilaTerra, a charitable initiative by Colony, a New York City-based cooperative design gallery, creative firm, and studio, in collaboration with artist Deborah Czeresko. Czeresko, a winner of Netflix's 'Blown Away,' produced a limited edition of 100 glass vases, some colorless and others vibrantly hued, designed by Colony founder Jean Lin. Proceeds from the PhilaTerra collection support the Environmental Defense Fund and the Rainforest Foundation US. Heath Ceramics, known for its experimental and collaborative approach beyond clay, partnered with glassblower Cedric Mitchell for a new collection. Mitchell, based in Los Angeles, created a series of elegant bottles and vases with subtle Memphis influences, as well as jewel-toned cocktail stirring glasses and tumblers. Mitchell is also an instructor and a team member of Crafting the Future, a nonprofit that funds young talent for craft school experiences to promote diversity in the field. Sophie Lou Jacobsen, a sustainably-minded glassware designer, introduced her "Asking for a Friend" collection at Assembly Line in Brooklyn. This collection, on display through July 1, features Jacobsen’s distinctive silhouetted works, which were produced at Keep Brooklyn’s studio. The "Vetro Alga" exhibition by multidisciplinary designer Dana Arbib, curated by Alex Tieghi-Walker’s Tiwa Select, was showcased during New York Design Week at Galerie Michael Bargo. Arbib's work explores her Libyan heritage through glass, collaborating with Venetian artisans to honor Venice's rich glassblowing history. The collection, whose name means "seaweed glass" in Italian, draws inspiration from her distant relative Salvatore Arbib, a prominent Venetian glassblower from the early 20th century, resulting in textured vessels and bowls made in Murano. Finally, Swedish artist Annika Jarring's Line vase is recognized for the Loewe Foundation Craft Prize. Jarring’s innovative technique involves shaping 392 small glass elements with silicone to create an architectural vessel. Inspired by the ornamental jade pieces of ancient Chinese burial suits, this sculptural piece is one of 30 works shortlisted for the prize and will be exhibited at the Seoul Museum of Craft Art. #GlassDesign #HomeDecor #ContemporaryGlassware #DesignCollections #EmergingDesigners #ArtisanCraftsmanship #InteriorDesignTrends #CharitableDesign #GlassArt

The "Innesti" series, developed by designers Alexandra Denton and Sofia Lazzeri, introduces a collection of vessels that seamlessly integrate glass and textiles. The name "Innesti" is derived from the Italian word for grafting, a botanical process involving the fusion of tissues from two distinct plants to cultivate new varieties. This concept serves as the foundational principle for the project, which aims to merge disparate materials to generate novel forms and aesthetic experiences. The core idea behind Innesti is to combine the inherent qualities of a hard, rigid material like glass with the soft, pliable nature of textiles. This juxtaposition results in a compelling visual and tactile harmony, where the seemingly contradictory characteristics of the materials complement each other, creating a sense of belonging and unity. The designers intentionally chose these materials to highlight their individual voices and to stimulate an aesthetic appreciation that thrives on contrasts. This approach celebrates the unique properties of each component while showcasing how they can be harmoniously integrated. Innesti is not merely about combining materials; it is also a deliberate exploration of knowledge and tradition within design. By drawing inspiration from the ancient technique of grafting, Denton and Lazzeri infuse their contemporary design with a reverence for established practices. The project underscores the potential for innovation when traditional methods are reinterpreted through a modern lens, emphasizing the enduring relevance of craftsmanship and material understanding. The series was prominently featured at Greenhouse during Stockholm Design Week, an event recognized for showcasing emerging talent and innovative design concepts. Its exhibition there highlights the project's significance in the broader design landscape, drawing attention to its inventive use of materials and its thoughtful conceptual framework. The public presentation allowed for a wider appreciation of how Innesti challenges conventional perceptions of material compatibility and opens new avenues for design exploration. Through Innesti, Alexandra Denton and Sofia Lazzeri offer a compelling narrative about the transformative power of material synthesis. Their work demonstrates that by thoughtfully combining diverse elements, designers can create objects that are not only visually striking but also imbued with deeper meaning, fostering a richer aesthetic and intellectual engagement with everyday objects. The project serves as an example of how designers can push boundaries by exploring the interplay between contrasting textures and forms, ultimately enriching the discourse on material innovation and design artistry. #InnestiVessels #AlexandraDenton #SofiaLazzeri #GlassTextileDesign #MaterialFusion #DesignInnovation #StockholmDesignWeek #ContemporaryDesign #HomeFurnishings

This article celebrates Suzanne Tick's induction into the Interior Design Hall of Fame, highlighting her multifaceted career as a material innovator, textile designer, and artist. Tick's work is characterized by a forward-thinking approach, integrating sustainability, advanced technologies like 3D knitting, and concepts of transparency and digitalism into woven surfaces for commercial interiors. Her textile brand, Luum, for instance, launched its 'Fabric of Space' collection with patterns inspired by celestial phenomena, coincidentally aligning with the public release of images from the James Webb Space Telescope. Throughout her four-decade career, Tick has collaborated with prominent brands such as Tarkett, Tandus Centiva, 3form, and Skyline Design, creating a diverse range of products including upholstery, drapery fabrics, high-performance carpeting, broadloom, cement-tile, LVT flooring, and etched glass panels. Beyond her commercial endeavors, she maintains an active fine-art practice, producing tapestries and experimental handweavings for clients like the Gates Foundation and BlackRock. Before establishing her independent studio and Luum, Tick served as an in-house design lead for Knoll Textiles, Unika Vaev, and Brickel Associates. However, she values the autonomy and risk-taking opportunities afforded by her entrepreneurial path. This independence has enabled her to innovate, as seen in Luum's pioneering contract industry fabrics made from postconsumer-recycled biodegradable polyester and discarded garment waste. Her journey began in the early 1980s after earning textile design degrees, where she quickly sought to understand the entire production process, learning everything from fiber sourcing to pattern implementation, an experience that shaped her holistic approach. Sustainability has been a cornerstone of Tick's philosophy, encompassing raw material development, structural innovation, and manufacturing method revitalization. At Luum, the focus is on developing new fibers and constructions, resulting in distinct fabrics. Her handweavings also incorporate novel and salvaged materials, such as dry-cleaning hangers, shredded ledgers, and cut-up paint sample discards. Tick attributes her salvage mindset to her upbringing, influenced by her father's scrap-metal business and her mother's creative pursuits and Eastern philosophy interests. Meditation has also profoundly influenced Tick's creative process and studio culture. After a period of personal dissatisfaction, she embraced Vedic meditation seven years ago and now teaches it, crediting it with enhancing collective creativity and clarity within her design teams. This practice has also reinforced her commitment to social responsibility, leading to free weaving workshops and involvement with The Light Inside, an organization teaching meditation to prison inmates. Tick's dedication extends to environmental stewardship, evidenced by her role in creating Resolution, the first solution-dyed panel fabric for Knoll Textiles, and her studio's textile waste recycling efforts. Her work consistently pushes boundaries, merging technology, craft, and human ingenuity to promote circularity in design. #SuzanneTick #InteriorDesignHallOfFame #TextileDesign #MaterialInnovation #Sustainability #LuumTextiles #KnollTextiles #SkylineDesign #VedicMeditation #ArtInstallation

Art Nouveau, a pervasive design movement from 1890 to 1910, distinguished itself through its characteristic sinuous curves, intricate ornamentation, and stylized interpretations of natural forms. Drawing inspiration from Japonisme and the English Arts and Crafts movement, Art Nouveau emphasized material experimentation, allowing artists to translate the beauty of the natural world into highly individualistic expressions. Many prominent figures of the movement delved deeply into nature or traveled to diverse locales, seeking inspiration from unfamiliar flora, fauna, and insects. The core genius of Art Nouveau artists lay in their capacity to render the organic delicacy of natural forms using rigid materials such as glass, wood, and metal. Specialists like Victoria Tudor from Christie's Design department highlight the pivotal role of glassmaking, woodcarving, and marquetry during this period, with fruitwoods, mahogany, and satinwood being common choices. Designers skillfully manipulated structured materials to evoke the movement found in nature, mirroring the forms of flower stems or leaves. The masters of Art Nouveau, including Tiffany, Gallé, and Daum, excelled in working with their chosen materials, transforming themes and emotions into tangible art forms rather than merely words. Several key designers significantly shaped the Art Nouveau movement. Daum, founded in 1878 by Jean Daum, initially produced tableware. However, under the artistic direction of Antonin Daum and Henri Bergé, the company embraced floral designs in colored and cameo glass, greatly expanding its artistic range and production volume. Daum also engaged in significant collaborations, notably with Louis Majorelle, a key figure in the Ecole de Nancy, resulting in notable pieces like the 'Nénuphar' table lamp. Emile Gallé, another founder of the Ecole de Nancy and based in the glassmaking hub of Nancy, France, created works celebrated for their elegant forms, rich colors, and nature-inspired decorations. He pioneered experimental techniques such as glass marquetry and acid etching, creating complex layered glass pieces, often with inclusions like gold leaf. Gallé also introduced 'verreries parlantes' or 'speaking glassware,' which incorporated poetic inscriptions, requiring the viewer to interact with the object to read them. René Lalique dominated Art Nouveau jewelry and decorative objects. After achieving fame for his modern jewels, he began experimenting with glass around 1890. Lalique later opened a shop at Place Vendôme, showcasing both his jewelry and glass objects. He revolutionized the perfume industry with his glass bottles and, by the 1920s, focused exclusively on glassmaking, developing a distinctive technique of contrasting clear and frosted glass. His extensive output included numerous vases and other mass-produced items, and his business continues to thrive today, having adapted to subsequent styles like Art Deco. Louis Majorelle, renowned for his woodworking, operated a substantial atelier that produced a wide range of furniture, from standardized designs to exclusive commissions. He worked with a diverse palette of global woods, creating tonal designs, gradients, and fine art-like floral marquetry. Majorelle was a vice president of the Ecole de Nancy and maintained multiple shops across France. Tiffany Studios, led by Louis Comfort Tiffany, focused on stained glass design and production. Working with skilled American artisans, Tiffany Studios developed patented processes, such as for iridescent Favrile glass, and created iconic leaded glass lamps. Tiffany drew immense inspiration from his estate, Laurelton Hall, which was meticulously designed to reflect his artistic vision and served as a retreat for artists. Despite the estate's destruction by fire, the legacy of Tiffany Studios endures through its vibrant lamps and other decorative creations in glass, ceramics, enamel, and metalwork, which remain highly valued by collectors. The global influence of Art Nouveau extended to various international variations and localized movements. Italian designer Carlo Bugatti produced architectural furniture, while the Vienna Secession featured artists like Gustav Klimt. Cities such as Barcelona, with Antoni Gaudí's works, and Paris, with Hector Guimard's contributions like the Métro entrances, showcase the ambitious scope of Art Nouveau creators. The interplay between architecture and furniture design was crucial for many Art Nouveau designers, underscoring the holistic nature of their artistic approach. These diverse examples highlight the widespread and transformative impact of the Art Nouveau movement on design and art across Europe and beyond. #ArtNouveau #CollectingGuide #DecorativeArts #DesignHistory #Glassmaking #FurnitureDesign #TiffanyStudios #EmileGalle #ReneLalique #LouisMajorelle #Daum

This article features Jennie Bishop, co-founder of Chicago-based Studio Gild, as she shares her current design inspirations through a mood board. Bishop is known for her bold use of hues and patterns, approaching each project with striking shapes, graphic prints, and bright colors. Her personal design philosophy is rooted in creating positivity, beauty, and visual comfort to counteract life's chaos. The central inspiration for Bishop's mood board is a pale pink underwater-themed silk wall mural by Eskayel, which sets a fresh, spring-like tone. She describes this palette as symbolizing renewal, growth, and a fresh outlook on life, imagining crisp, dewy scents and the gentle emergence of flowers and greenery. To anchor this vibrant theme, Bishop integrates warm earth tones and organic finishes, such as terra-cotta-colored chenille velvet and red travertine. She highlights how these materials, combined with bright citrus accents, distinctive marbles, and a blend of vintage and modern pieces, contribute to a lively yet grounded aesthetic. Bishop meticulously details 33 items that compose her mood board, each contributing to the overarching spring theme. Among these are custom ceramic plates and espresso cups from Three Seven Paris, valued for their handmade delicate strength. Key tassels in Sienna and Lilac from Samuel & Sons are mentioned as charming additions for cabinet hardware. Vintage marble vessels from local Chicago favorites Redefined Décor and CKS Collective are chosen for their unique character. Lighting selections include a 28T Table Lamp in deep crimson red by Bocci, praised for its warm glow, and a Twin 4.0 Pendant in mint green/pastel green by Sklo, noted for its color-changing properties. The mood board also incorporates various textiles and wallcoverings. An Armadillo Meadow Rug in Brick is selected for its plush wool pile, while Ribbit Wallpaper by Lambert McGuire Design for Voutsa evokes green fields. More Is More Fabric in Noir Jais by Dedar adds a touch of sparkle with silver and gold boucle, and Chalk Stripe Fabric by Rosemary Hallgarten brings a "chunky, confetti-colored" feel. Freddo Fabric in Terracotta by Fadini Borghi at Pierre Frey provides a soft, plush texture. Geometric prints like Custom Matsu Fabric in Rust by Zak+Fox and Kiss Cross Fabric in Brown by Studio Atkinson are also included. Tile selections feature Kannon Field Tile in Canela Twist by Ann Sacks for its moody depth, flower-shaped tile in Azul Claro by Lofa for its whimsical nature, and a fresh combination of Persian Red Travertine Honed Stone by Artistic Tile and Painted Sky Tile by Fireclay Tile. Marble pieces like Ceppo Rosso Venetian Marble and Indigo Green Marble from ABC Stone are chosen for their versatility and natural beauty. Custom elements play a significant role, including marbleized concrete cabinet knobs by Concrete Cat, known for their unique color combinations, and a custom bronze handrail by Tim Thompson covered in Edelman leather. Custom glass finish samples from Atelier Barrois are envisioned for partitions, while custom antique bronze finish samples by Carson Maddox Studios offer a timeless patina. Furniture elements include black walnut, copper, and resin finishes from Wüd, and a Shayd Table Lamp in Sand by Sin for a handmade touch. Art and literary pieces round out the mood board, with a vintage statuette from Redefined Décor, a "bust in every vignette" philosophy, and a 'Table #4' print by Lawrence Brice Jr. from Weinstein Hammons Gallery. Books such as ‘You Had Better Make Some Noise: Words to Change the World’ and ‘The Japanese Garden’ by Phaidon are selected for their graphic covers and visual interest. Ceramic sculptures by Amanda Gentry and Chris Heck at Alma Gallery are highlighted for their tactile and artistic qualities, with Gentry’s mini pillows even being installed in grids and circular arrangements. A custom woven rug from F.J. Hakimian is noted for its sweet lavender woven into ivory boucle, serving as a perfect backdrop for the palette. Finally, Eskayel's Atoll Wallpaper in Coral is praised for its mesmerizing drawings and soft yet edgy color combinations, appealing to a broad range of clients. #InteriorDesign #JennieBishop #StudioGild #MoodBoard #SpringPalette #HomeDecor #DesignInspiration #TextileDesign #MaterialSelection

The Milan-based design studio 6:AM, founded by Edoardo Pandolfo and Francesco Palù in 2018, is redefining the application and perception of Murano glass. The studio's name, 6:AM, signifies the moment the furnaces on the Venetian island are ignited daily, marking the continuation of a 700-year-old glassmaking tradition. Pandolfo, a Venice native, and Palù, an architect, aim to introduce Murano glass to a broader audience through a diverse range of products, including architectural installations, modular lighting, furniture, and sculptural objects, all characterized by precision, materiality, and conceptual clarity. Their work spans bespoke commissions for international brands and research-driven explorations into the future of glassmaking. 6:AM's approach marries ancient techniques with contemporary aesthetics, emphasizing a continuous dialogue between craftsmanship and design. This synergy means that product development and glassworking techniques evolve in parallel, where the object's shape often dictates how the glass is worked, and conversely, the design influences the choice of technique. The studio collaborates closely with Murano's master artisans, leveraging their extensive expertise in manipulating glass in its molten state. They actively experiment with layering, fusing, and adapting traditional methods to expand the material's potential while striving to minimize environmental impact. A notable project demonstrating this ethos is FLOAT, unveiled during Milan Design Week 2024. This collection repurposed salvaged glass from 1930s Milanese windows into furniture, shelving, and architectural cladding. By combining fused glass panels with minimalist steel structures, FLOAT explored new technical and aesthetic possibilities for post-industrial materials. This initiative culminated in the 'Resourceful Intelligence' installation at the 2025 Venice Architecture Biennale, where reprocessed glass from Milan’s Palazzo Missori was utilized to showcase circular design strategies, developed in collaboration with Park Associati. Earlier in the year, 6:AM held its inaugural solo exhibition, 'Two-Fold Silence,' at Milan's historic Piscina Cozzi during Milan Design Week. The exhibition featured Quadrato, a lighting collection that draws inspiration from 1920s industrial design, blending Bauhaus rationalism with the geometric abstraction of Kazimir Malevič. The Quadrato collection, crafted from blown Murano glass with varying textures and opacities, included a screen-printed lattimo wall lamp encased in painted iron, offering a modern interpretation of early 20th-century emergency lights. From crafting jewel-like hand-blown Murano glass stools for Bottega Veneta’s SS26 runway show to their pioneering material recovery projects, 6:AM consistently demonstrates a distinctive visual language. This language is characterized by fluid silhouettes, luminous textures, and a steadfast commitment to handmade quality. Each cuboid stool for Bottega Veneta, for instance, began as a 43 cm glass block shaped using cast-iron molds engraved with CNC technology, reflecting a process akin to traditional marble sculpture. The studio's work is deeply embedded in Murano’s historical glassmaking heritage, yet it is decisively forward-looking, continuously pushing the boundaries of glass design. #GlassDesign #MuranoGlass #6AMStudio #MilanDesign #SustainableDesign #BottegaVeneta #ArchitecturalInstallations #ContemporaryCraftsmanship #CircularDesign

Tracy Guarino, an entrepreneur residing in Forest Hills, sought to infuse a sense of tranquility and modern Zen into her expansive 11,328-square-foot home. Collaborating with interior designer Ray Booth, the objective was to create a peaceful sanctuary that contrasted with Guarino's active professional life. The residence, situated within the gated community of Bancroft, presents a classic facade with Mediterranean architectural influences, featuring native stone, exotic wood, and a rust-colored barrel tile roof, extending across six acres. Inside, the home transitions into a modern aesthetic with an open floor plan, high ceilings, and a luxurious grayscale palette. Booth addressed the initial vastness of the space by incorporating floor-to-ceiling draperies made from Holly Hunt's 'Soft Spoken: Pale Silver' fabric. These semi-sheer panels create defined dining and living areas without fully enclosing them, offering a sense of intimacy and gentle transition. The draperies were instrumental in softening the previously 'cold and hard' interior, adding a crucial element of 'pause' before entering spaces like the master bedroom. Elegant details are found throughout the five-bedroom home. A hand-carved teak panel from Thailand and a Shakuff’s Kadur Drizzle multi-pendant chandelier contribute to the luxurious atmosphere. Guarino's passion for collecting is evident in various art pieces, including sculptures by Herb Williams made from crayons, an abstract commission by Ed Nash in the kitchen sitting room, and graphic artworks derived from the animated film 'Destino,' a collaboration between Walt Disney and Salvador Dalí. The master bedroom continues the theme of elegance with a velvety Italian carpet and a tufted gray chaise in the master bath. The outdoor space is designed to resemble a luxury resort, featuring a uniquely shaped infinity-edge swimming pool surrounded by cabanas and a secluded screened-in porch with an outdoor shower, which Guarino prefers over her exquisite indoor master bath shower. Functionality for entertaining and business is also a key aspect of the home's design, which includes a professional kitchen alongside the family kitchen, two offices, and a gift-wrapping room. The family kitchen, located strategically between Guarino's and her sons' bedrooms, serves as the home's social center. Ray Booth integrated 'appliance garages' made of Bendheim architectural glass in this space, allowing cabinets to be concealed for a seamless look. This kitchen is a central gathering point for Guarino's extended family, particularly on Sundays when she prepares large meals, reflecting her Italian heritage where the kitchen is considered the heart of the home. #ForestHills #HomeDesign #InteriorDesign #ZenAesthetic #ModernLuxury #RayBooth #NashvilleHomes #ArchitecturalGlass #ArtCollection

Judson Studios, established in 1897 by William Lees Judson and his three sons, stands as the oldest family-run art glass studio in the United States. Located in Los Angeles, the studio has a rich history spanning 124 years, adapting its craft from traditional stained glass to contemporary artistic collaborations. The studio's legacy is comprehensively showcased in the retrospective exhibition, "Judson Studios: Stained Glass From Gothic to Street Style," held at Glendale's Forest Lawn Museum. William Lees Judson, originally from Manchester, England, founded the studio after recovering from ill health following his relocation to Los Angeles in 1893. His arrival coincided with a period of rapid growth and construction in the city, creating a significant demand for stained glass in both commercial and residential buildings, as well as new churches. William Lees Judson quickly became a prominent figure in the city's artistic community, serving as the first dean of USC's College of Fine Arts and co-founding the Arroyo Guild of Fellow Crafters. Recognizing the need for stained glass in the burgeoning metropolis, he established the Colonial Art Glass Company, which later evolved into Judson Studios. Throughout its history, Judson Studios has created a diverse range of glassworks, from windows for Craftsman homes and skylights for movie palaces to fixtures for shopping centers and cathedrals. The studio has successfully integrated various architectural and artistic styles, including Beaux-Arts, Arts & Crafts, and Mid-Century Modern, into its centuries-old glass-making techniques. The exhibition at Forest Lawn Museum, curated by James Fishburne, presents the studio's extensive output through photographs, working drawings, and show pieces, complemented by the book "Judson: Innovation in Stained Glass. A significant turning point for Judson Studios was their 2018 project for the Church of the Resurrection in Leawood, Kansas, which features the world’s largest fused glass window. This project marked the studio's expansion into fused glass, a technique involving the high-temperature bonding of glass pieces without lead. To execute this ambitious project, Judson Studios constructed a new facility and collaborated with Narcissus Quagliata, a pioneer in fused glass. This innovation allows for the creation of large-scale glass art that combines traditional methods with new possibilities, attracting artists interested in pushing the boundaries of the medium. The exhibition's final section highlights the studio's collaborations with contemporary artists, many of whom are street artists. These collaborations have resulted in innovative artworks that challenge conventional notions of stained glass. Examples include Marco Zamora’s "Amor Fati," which merges medieval and street art aesthetics, and David Flores’s self-portrait, "The Muralist." Other artists, like Dani Tull and Alice Wang, have created pieces that transform the medium, with Tull's fanciful lamps and Wang's unconventional black, floor-based glass forms that intentionally defy traditional stained glass characteristics. David Judson, the fifth-generation owner, envisions a future where glass, with its durability and unique interaction with light and color, continues to be a vital medium for both public and gallery art, fostering new artistic expressions. #JudsonStudios #StainedGlass #ArtGlass #ArchitecturalGlass #LosAngelesArt #GlassInnovation #Craftsmanship #ContemporaryArt #FusedGlass

Lisa Kanning, a Brooklyn-based designer, draws inspiration from the natural world to create texture-infused interior spaces. Her approach involves integrating with the project early to establish a palette that harmonizes with the surrounding landscape. Kanning's design philosophy emphasizes rich neutrals and organic materials, ensuring that each element contributes to a cohesive and flowing visual experience. She achieves this by incorporating various tonal colors and textures that allow the eye to move effortlessly across the space, preventing any single feature from dominating. For a recent project at a client’s Telluride, Colorado, residence, Kanning developed a mood board that exemplifies her design principles. This scheme centers on an earthy palette and tactile finishes, beginning with brushed European oak flooring. The design incorporates diverse textures, such as tawny faux fur fabric and metallic-accented abaca window coverings, to create a modern mountain home that maximizes scenic views while maintaining warmth. Kanning highlights the importance of balancing glass elements with warm tones and textural details to achieve this effect. Kanning elaborates on the specific components of her mood board, each selected for its unique contribution to the overall design. Among the selections is a birch wallcovering in Wisteria by Lisa Kanning for Hartmann&Forbes;, which features delicate bronze thread embroidered on a metallic cork background, offering a sophisticated artistic interpretation of birch tree bark. Custom twig coat hooks by CP Lighting provide organic forms, while Benjamin fabric in Putty by Zinc Textile introduces a luxurious faux fur texture. The Cenote windowcovering in Oro by Lisa Kanning for Hartmann&Forbes; showcases a natural ombre effect with interwoven metallic threading, creating both aesthetic appeal and practical functionality. Further enriching the material palette, the Talisman fabric in 020 by Carlucci at JAB Anstoetz is noted for its intense character, varied pile heights, and layered sheens. The Submerge rug by Kyle Bunting demonstrates complex designs and the workshop's versatility, including its expansion into wool and silk. Toluca fabric in Gouttes de Rosée by Élitis contributes a strong textural vibration through its irregular tied and dyed threads. Slayd Boxes by Nestor & Rotsen utilize ceramics in unique ways, highlighting the material's depth. Lighting and finishes are also carefully chosen to enhance the natural aesthetic. The Petra I Sconce in Smoky Quartz by Christopher Boots features natural quartz, providing an ethereal glow due to its translucency and organic shapes. Raw Urth Designs' vintage pewter finish offers a unique metal option for countertops and range hoods. Polished amethyst and citrine clusters from Starstuff Rocks are incorporated for their natural beauty and unique cylindrical forms. The foundation of the space is laid with Valor brushed European oak flooring by Hakwood, known for its exceptional variety. Naguri panels by Workbench are suggested for doors or accent walls, adding sculpted wood details. Fandango antique brass plated mesh by TWP is chosen for cabinet door inserts, allowing for light interplay. Finally, bronze-tinted glass by Meltdown Glass Art & Design provides a transparent material full of warmth through its tone and texture, challenging the perception of glass as a cold material. #InteriorDesign #LisaKanning #MoodBoard #TellurideResidence #OrganicMaterials #LuxuryDesign #MaterialSelection #CustomDesign

Stockholm Creative Edition, an independent design week established by Ulrika Kjellstöm Attar and Philippe Attar, showcases contemporary Swedish design from emerging and established artists and companies. This event, running through 29 September, contributes to Europe's dynamic design landscape, following Milan Design Week and 3 Days Of Design in Copenhagen. A central theme of the Stockholm Creative Edition is the innovative application of traditional Scandinavian materials: wood, glass, and metal. The various exhibitions, presentations, and workshops highlight both functional and futuristic interpretations of these classic elements. Monica Förster played a significant role in launching Subjective, a new brand founded by Ruben Schildt and Sebastian Schildt of Oxenstiernan restaurant. Initially, this collection, which includes plates, glasses, and tablecloths, was created for the Östermalm eatery. However, due to its success, it has now entered production. The items are crafted by local artisans with an emphasis on traditional methods and sustainability. Förster's notable contribution is the Babushka, a versatile glass container available in three sizes. Its lid is designed to function as a magnifying lens, enhancing the visual appeal of its contents, whether they are food items or decorative flowers. Glass is also prominently featured in the architectural design of Liljevalchs+, the recently completed extension of a beloved Stockholm museum. Architect Gert Wingårdh collaborated with potter and designer Ingegerd Råman to create the building's façade, which consists of a concrete wall embedded with 6,860 glass cups. This innovative solution ensures an ample flow of natural light into the interior. An exhibition at Liljevalchs+, running until 17 October, celebrates Råman's work, presenting a collection of unique glass vases that are the result of extensive experimentation with this material. In the realm of wood, Massproductions presents the Hercule, a coat-hanger made from oat or walnut. This piece, described as both playful and practical, is part of the exhibition 'Who Are You Hercule?' where the studio Specific Generic has reimagined it as an illustrated character. Designer Chris Martin noted that the product's shape often reminded people of an animal's nose or a human face, inspiring an installation that uses projections to animate illustrations by Patrik Mollwing. Asplund, a company known for promoting young Scandinavian designers since 1990, also features wood in its collection. Their Moci dining table showcases legs that gracefully connect with the tabletop, forming elegant curves and blending Swedish and Japanese design aesthetics. Creative director Sandra Adrian Asplund explains that the design was inspired by a coffee table created by Moa Sjöberg, which was seen at the Malmstens Linköping University graduate show. Metal is highlighted through Margarita Matiz Bergfeldt's Twilight, a wall-mounted candle-holder produced by Klong. Inspired by multigraph photography, which uses mirrors to multiply subjects, Bergfeldt aimed to achieve a similar effect with candlelight. The Twilight features metal surfaces in two finishes that amplify light, illuminating even the darkest areas of a home. This piece also serves as a vase. Metal is also a key component in office furniture, a sector where Swedish designers excel. Lammhults utilizes metal in its Corso Easy chair, a straightforward design based on a tubular metal structure and a leather or canvas seat, referencing Peter Andersson’s work. While designed for office environments, its rounded form allows it to be used in various settings. The chair is designed for disassembly and uses minimal materials, contributing to a lower environmental impact. #StockholmCreativeEdition #SwedishDesign #GlassDesign #WoodFurniture #MetalDesign #InteriorDesign #ProductDesign #SustainableDesign #NordicCreativity

Brooklyn-based designer Lauren Manoogian, known for her slow fashion approach, has partnered with Paris-based maker Lætitia Jacquetton to create a distinctive series of vases. These unique vessels are crafted from glass blown directly around carefully selected rocks. The collaboration is currently featured in Manoogian's Manhattan showroom and is also available for viewing and purchase online. Manoogian's decision to showcase Jacquetton's work aligns with her broader intention to provide a platform for other artists and craftspeople whose work she admires and finds inspiring. This initiative, dubbed 'Object,' began organically through Manoogian's travels to Peru, where she discovered compelling ceramic traditions. She emphasizes the importance of fostering a sense of wonder and emotional connection to physical objects, especially in an increasingly digital world. Lætitia Jacquetton's artistic practice seamlessly blends traditional glass-blowing expertise with a profound respect for the natural environment. She acquired her glass-blowing skills in Murano, Italy, and Nancy, France. Each of her sculptural pieces is created by blowing glass around rocks that she personally forages from nature, taking care not to disrupt the surrounding ecosystem. This process imbues her works with a sense of both rarity and reverence, effectively capturing a moment in time within a solid, poetic form. When discussing the parallels between their artistic approaches, Manoogian notes the seemingly simple yet transformative use of materials in both their works. She highlights that both their creations are sculptural and feature well-defined proportions, yet possess a mutable quality that arises from an intuitive process. This makes the pieces approachable and capable of enhancing daily life. Manoogian further elaborates that both their works are deeply intimate, both in their final use and in their creation process, emphasizing a shared tactility and an experimental drive to discover the ideal tension point within materials, which ultimately shapes the final form. The deliberate connection to nature embedded within Jacquetton's vessels is a central element that captivates the imagination. Manoogian expresses her appreciation for the artist's intention and the inherent uncontrollable elements within the creation process. She acknowledges the element of risk involved in making each piece, as Jacquetton works quickly, harnessing gravity and fire. The resulting forms are highly gestural, encapsulating the precise moment when all elements converge. This dynamic process is what imbues each vase with its unique aliveness and individuality, making every piece a singular creation. #Glassware #ArtCollaboration #HomeDecor #SustainableDesign #Craftsmanship #LaurenManoogian #LaetitiaJacquetton #InteriorDesign #NaturalMaterials

Between the 1860s and 1910s, Venetian glass, particularly from the island of Murano, emerged as a highly coveted luxury item globally, captivating both American elites and artists. This period saw a significant cultural impact in the United States, with homes and institutions being adorned with these glass creations. Art critic James Jackson Jarves, for instance, accumulated approximately 300 pieces, which he later donated to the Metropolitan Museum of Art. American artists residing abroad not only depicted glass objects in their works but also captured the essence of the Venetian glassmaking industry, including glass blowers, bead stringers, and glowing furnaces, in their paintings, watercolors, and prints. Venice had a long-standing history of glass production dating back to the Middle Ages. However, its economic decline, loss of political autonomy, and high tariffs in the 18th and early 19th centuries led to a cessation of its 500-year-old glassmaking tradition. The city itself also fell into disrepair by the 1850s. The revival of Venetian glassmaking began when Antonio Salviati, a lawyer, observed the deteriorating mosaics of St. Mark’s Basilica. He established a mosaic and glassmaking manufacturing business, bringing together descendants of old glassmaking families who helped rediscover lost techniques from the Renaissance and ancient Rome. To expand his enterprise, Salviati opened a showroom in London, exhibited his works at international fairs, and distributed his glass through esteemed American retailers like Tiffany & Co. His workers, meanwhile, developed innovative techniques and styles that attracted numerous American collectors, tourists, and artists. The book, "Sargent, Whistler, and Venetian Glass: American Artists and the Magic of Murano," edited by Crawford Alexander Mann III and published by Princeton University Press, delves into this resurgence of Venetian glass and its influence on American concepts of taste, labor, and beauty during this critical era. This extensively illustrated book accompanies a traveling exhibition, which has been showcased at the Smithsonian American Art Museum in Washington, DC. Artists like James McNeill Whistler, who visited Venice in 1879, found the city and its glass intoxicating. His 1880 etching, "Nocturne: Furnace," illustrates a glassblower working at night, observed from a gondola. John Singer Sargent’s paintings depict young women engaged in labor within the city and factories, offering a realistic portrayal of the work involved in producing glass, lace, and other crafts. Other American artists like Ellen Day Hale focused on the electrification of glass street lights and lamps in Venice, while Louise Howland King Cox portrayed glass pieces as delicate elements of daily domestic life. Over time, Venetian glass profoundly influenced American glassmakers and consumers. Venice further solidified its artistic standing by establishing its biennale in 1895, where Murano glassworkers frequently held concurrent exhibitions of their creations. As the reputation of Venetian glass grew, its perceived value increasingly shifted towards fine art, as encapsulated by Oscar Wilde’s observation that a painting, in its primary aspect, possesses no more spiritual message than an exquisite fragment of Venetian glass. This historical account highlights the significant interplay between art, industry, and cultural exchange, demonstrating how Venetian glass transcended its functional purpose to become a symbol of beauty and artistic expression, deeply influencing American aesthetic sensibilities and artistic production during the late 19th and early 20th centuries. The book and accompanying exhibition serve as a testament to the enduring allure and historical significance of Murano glass. #VenetianGlass #AmericanArt #MuranoGlass #ArtHistory #GlassMaking #LuxuryItems #CulturalExchange #ArtExhibitions #PrincetonUniversityPress