Shed Brand Studios: One of Charlotte’s Last Glass Artisans

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

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

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

Eve George, a glass blower and designer, chronicles her transformative residency in New York City, which profoundly influenced her artistic direction and the creation of her new glass collection, "Brume" (Mist). Co-founder of Atelier George in Burgundy's Côte d'Or, George typically works from a rural environment, producing collections every two years that reflect her surroundings. Her previous collection, "Cime" (Peak), was rooted in her rural setting and partly developed during the COVID lockdown. Her New York residency, from February to April 2023, was designed to provide a contrasting urban experience to inform "Brume." George describes her artistic process as a "choreographed sequence" akin to dancing with molten glass, an untamable material at 1100˚C that demands anticipation and memorization of gestures. The intense, productive atmosphere of New York served as a catalyst for her work ethic, encouraging her to seize opportunities and embrace a less contained way of life. This residency offered her a unique opportunity for exploration and artistic quest without immediate economic constraints, a freedom that often conflicted with the Americanized aspects of her life in France. During her stay, George navigated between different neighborhoods, experiencing the city through various encounters. A pivotal moment was attending Eva D’Oumbia’s "Autophagies" performance, which, combined with a communal meal, highlighted the profound symbolism of eating. This inspired her to delve into New York's "Foodie" culture, finding connections between culinary experiences and her artistic vision. She observed the cultural melting pot in places like Industry City, with its Japanese market and diverse eateries, noting how various cultures were combined and appropriated to create new culinary experiences, much like changing channels or swiping online content. An essential part of her residency involved an immersion at the Corning Museum of Glass upstate. This world-renowned institution, with its extensive historical and contemporary glass collections, workshops, and research facilities, allowed George to prototype her initial sketches with the help of expert glass blowers. She also researched the history of decorative table art, the ritual of meals, and the art of hosting, discovering 18th-century Italian engravings depicting tables as miniature gardens and early blown glass "snuff bottles" from the Far East. These historical findings and the concept of ritualistic tasting, inspired by a tea ceremony with a friend, led her to develop "scenting vials"—miniature bottles designed to hold aromas for a pre-tasting ritual. Returning to New York, George envisioned the city's layout as a vast banquet, with city blocks as placemats and skyscrapers as central decorations. She collaborated with Lucien Zayan, founder of The Invisible Dog Art Center, on a garlic-themed dinner, where her smelling vials were used to introduce a floral and woody garlic decoction, sparking memories and anecdotes among guests. Later, she met with Michael Anthony, chef at Gramercy Tavern, observing the restaurant's fluid hospitality and diverse dining areas. This experience, from the casual bar to the more formal dining room, underscored the American "savoir vivre"—a blend of sincere hospitality and innovation. The residency concluded with George returning to France, carrying glass samples imitating sea foam and water reflections, prototypes of tableware, and new ideas for her "glass city." She planned to integrate her new line of iridescent shot glasses into her table settings, reflecting her evolving artistic journey and the rich experiences gathered from Burgundy to Brooklyn. #GlassBlowing #ArtResidency #NewYorkCity #AtelierGeorge #CorningMuseumOfGlass #CulinaryCulture #DesignProcess #CulturalExchange #TablewareDesign

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

Glassware, historically considered less significant than ceramics, is experiencing a resurgence in popularity, driven by a renewed appreciation for its aesthetic and historical value. Collector Mark Hill notes the puzzling disparity in value and scholarly attention between glass and ceramics, despite glass's enduring appeal. Mid-century glassware, particularly pieces from Murano, Sweden, Finland, Denmark, the UK, the US, and Czechoslovakia, remains highly sought after. This era showcased a wide range of styles, from Murano's elaborate, kaleidoscopic designs using ancient techniques like murrine to the modernist simplicity and nature-inspired colors favored by Finnish designers such as Alvar and Aino Aalto with their iconic Savoy vase, and Timo Sarpaneva's textured Finlandia glassware. These designers often influenced each other, with British designers like Geoffrey Baxter drawing inspiration from Scandinavian aesthetics, incorporating natural textures into his designs. The international studio-glass movement, initiated in the 1960s by American artists like Harvey Littleton, democratized glassmaking by enabling individual artists to produce pieces in smaller furnaces, leading to more expressive works. Contemporary homeware brands are now channeling this mid-century aesthetic, exemplified by Danish brand Hay's Splash vase, which utilizes techniques like rolling molten glass over colored fragments. While the visual appeal of glass is a significant draw, current trends also reflect an interest in authentic craftsmanship, a sentiment highlighted by the Netflix series "Blown Away," which showcased the skill and drama of glassblowing. This show also brought attention to the increasing number of women entering the previously male-dominated field of glassmaking. Modern glass artists, such as Deborah Czeresko, the winner of "Blown Away," are also using their craft to explore conceptual and political themes, addressing issues like feminism and environmentalism through installations. Designers like Erwan and Ronan Bouroullec experiment with glass for architectural and conceptual pieces, while artists like Jochen Holz utilize techniques like lamp-working to create unique, asymmetrical glassware in vibrant hues. The industry is also evolving to incorporate more environmentally friendly practices. Manufacturers such as Japanese brand Sugahara and H&M Home are developing ranges from recycled glass and employing energy-saving production methods. British artist Allister Malcolm uses waste lead crystal, reuses offcuts, and powers his studio with solar panels. The "market for craft" report indicates a significant increase in the value of sales for individual glass pieces in England. Emerging trends include the growing popularity of colored glass, as observed by Turkish brand Nude, and a movement towards mismatched sets in tableware, offering greater freedom in design and color, as noted by SCP owner Sheridan Coakley. Technological advancements like 3D printing are enabling more intricate designs, while traditional handcrafted methods, such as lost-wax casting, remain vital for artists like Angela Jarman, ensuring the continued evolution and appreciation of glamorous glassware. #GlasswareDesign #MidCenturyModern #ArtGlass #HomewareTrends #SustainableDesign #Glassblowing #Craftsmanship #InteriorDecoration #NordicDesign

Centreville, Delaware, a village situated south of Chadds Ford, Pennsylvania, maintains its 18th-century charm while evolving into a dynamic hub for shopping, dining, and community gathering. Known for its historical architecture and a newly enhanced park, Centreville is attracting visitors with its diverse offerings and a monthly "wine walk." Resident Alan Livadas has been instrumental in revitalizing the area, beginning with the renovation of a historic structure and the subsequent purchase of The Shoppes at Centreville Barns. Livadas, collaborating with architect Richard Buchanan, aims to restore the Chandler–Dixon House and other outposts to their original character, envisioning a more walkable community with enhanced pathways and seating areas. The shoppes currently host a variety of merchants contributing to Centreville's unique appeal. Among the featured businesses is Adorn Goods, owned by Jennifer Steiner, offering home decor, kids' accessories, and a small market with cooking and entertaining accoutrements. The Centreville Café, under new owner and chef Elizabeth Moro, is transforming into a community hub with a refreshed menu, food market, and decor, including a family table designed to encourage shared meals. The café also provides space for private events. Susan Trezise's Fabulous Finds emphasizes the value of preserving and repurposing existing items, selling antiques from various eras and origins, including auctions and Sotheby's. Wild Thyme, a florist shop opened by Laurie de Grazia, specializes in high-end, distinctive floral arrangements and an eclectic collection of home goods and gifts, including ceramics by local artist Abby Patterson. A Marblehead Flyfisher Inc., owned by Terry Peach, has been a fixture in Centreville for 18 years, serving as a premier fly shop on the East Coast. It offers gear for various types of angling and benefits from its proximity to trout streams and rivers. Crystal Young's Crystal’s Vintage and Costume Jewelry caters to those who enjoy elaborate fashion accessories, featuring a wide range of costume pieces for all occasions. Karen Helme's Found, which has offered interior design services since 1999, houses period antiques, vintage furniture, and occasional new items, advocating for classic pieces that endure over time. Grooves & Tubes, owned by Gerald Young, is a record shop that has been buying and selling LPs and equipment for over a decade, also offering repair services for various audio devices. Linda Harris Reynolds, an award-winning portrait artist, operates her Fine Art Studios in Centreville, where she creates portraits and teaches classical painting classes through the Centreville Art Students’ League. Michael Gunselman Antiques, a collaboration between Gunselman and Richard Worth, specializes in traditional antique furnishings, decor, and early American toys. Salon 926 provides cutting-edge hair services, including bespoke cuts, coloring techniques, and men's grooming. Shish Interiors, founded by Sally Hunsinger, offers interior design services, furnishings, and home accoutrements, focusing on personalizing spaces within clients' budgets. Yocum Shutters & Blinds, a long-standing business since 1950, provides window treatments such as shades, blinds, and custom draperies from its location in the Chandler–Dixon House. #CentrevilleDelaware #LocalBusinesses #HistoricPreservation #HomeDecor #InteriorDesign #Antiques #CommunityRevitalization #Shopping

Erin Crosby, owner of Crosby Glass Studio, operates her business from a converted garage behind a Victorian home in Bellingham's York neighborhood. Her studio is a vibrant space filled with colorful stained-glass creations, including a portrait of her beagle, glass recreations of famous album covers, and a large custom window depicting blue ocean waves, a pirate ship, and an octopus, destined for the Cayman Islands. Crosby is known for her intricate work and is currently undertaking a significant restoration project: repairing all the 100-year-old stained-glass windows at Western Washington University's Wilson Library. The library's windows, installed in 1923, have suffered a century of damage, with every pane requiring attention. Crosby is the first to work on them since their original installation. The Wilson Library is named after Mabel Zoe Wilson, the university's second and most influential librarian, who was instrumental in establishing and growing the institution's library from a small collection to a dedicated building. She meticulously categorized books and advocated for a proper facility, eventually leading to the construction of the Romanesque-style building that now bears her name. Crosby's archival research reveals historical photos of children studying diligently in the library, suggesting its role as a community resource. Crosby's journey into stained glass began in childhood, inspired by her mother's projects. She recalls being more captivated by the stained-glass windows in church than by the sermons. Originally from Texas, Crosby moved to Bellingham and apprenticed with local artisan Lee Alexander for five years. Under Alexander's guidance, she refined her techniques, focusing on speed and quality. Upon Alexander's retirement, Crosby acquired her materials and established her own studio. Creating stained glass is a meticulous and time-consuming process. It starts with collaborative design between Crosby and the client, resulting in a 'cartoon' or line drawing. Once the design is finalized, Crosby scores and cuts the glass pieces to shape, then leads them together by soldering each joint and curve. The process concludes with the application of a glazing compound, filling the glass, and then polishing and waxing. Crosby also attended classes in Everett to learn hand-painting techniques for adding intricate details to glass, which are then permanently fused using a kiln. This hand-painting skill allows for a level of detail not achievable with leading alone. Crosby notes that she is one of the few individuals in the county who specializes in stained-glass repair and one of only two or three who take commissions. Her work extends beyond restorations to include creating new stained-glass windows for various clients, including churches, contributing to the artistic heritage of homes and historical buildings throughout the county. Her efforts continue to inspire new generations with the beauty of stained glass. #StainedGlassRestoration #ErinCrosby #CrosbyGlassStudio #WWUWilsonLibrary #HistoricalPreservation #GlassArtistry #BellinghamArtisan #WindowRepair #Craftsmanship

Deborah Strawn, an Alabama-based artist, transitioned from a career in audiology to become a leading expert in stained glass, a craft she discovered in the 1980s. Largely self-taught, Strawn enhanced her skills through intensive courses at prestigious institutions like the Penland School of Crafts in North Carolina and the Pilchuck Glass School in Seattle. Her work spans a wide range, from intricate photo slide-sized pieces to expansive church windows. Operating from her home studio in Loachapoka, near Auburn, Strawn primarily sells her creations through social media platforms like Facebook and Instagram, word-of-mouth referrals, and appearances at events such as the Southern Makers show. She also offers guidance to aspiring stained-glass artists, emphasizing the necessity of a dedicated studio space due to the time-consuming nature of the craft. Strawn's portfolio includes significant commissions for religious institutions. Approximately three decades ago, she began crafting church windows, including abstract bird designs for the Unitarian Universalist Fellowship Church in Auburn. More recently, she completed eight traditional windows for a historic church in Waverly, which was rebuilt after a lightning strike, receiving considerable support from the congregation throughout the project. Beyond spiritual works, Strawn also designs and creates original stained-glass windows for residential and commercial spaces. She recounted securing a commission for a funeral home by highlighting her ability to precisely interpret a client's vision. For the past two decades, her artistic endeavors have also extended to three-dimensional artworks, where she integrates found objects with leaded glass. A current project involves a series of portraits titled 'My Life's Strong Southern Women,' featuring influential women in her life, with the inaugural piece dedicated to her Aunt Hazel, known as 'Aunt Zinnia,' envisioned to evoke a vibrant memory as light passes through it. Her product offerings range from small, framed stained-glass pieces, priced between $25 and $65, to custom windows for homes, businesses, and churches. Strawn's artistic journey exemplifies a dedication to craftsmanship and a versatile approach to stained glass, allowing her to imbue diverse spaces with light and color, transforming both secular and sacred environments. Her work reflects a profound connection to her artistic medium and her commitment to sharing its beauty. #stainedGlassArt #AlabamaMakers #DeborahStrawn #glassArt #homeDecor #churchWindows #Loachapoka #artisan

The Charlotte real estate market is currently characterized by high mortgage interest rates and a critically low housing supply. In this environment, homeowners are increasingly focusing on maximizing the utility and comfort of their existing spaces. This article highlights five prominent home design trends emerging in Charlotte, reflecting these changing priorities. One significant trend is the resurgence of sculleries. Historically, these rooms were used for back-of-house kitchen functions. Today, they are being incorporated into high-end homes to manage kitchen clutter, allowing the main kitchen area to remain pristine. Modern sculleries often feature advanced storage solutions, secondary appliances like dishwashers and refrigerators, and adjustable racks. Michelle Lane, owner and principal designer of Modern Cottage Charlotte, notes that sculleries are gaining significant budget allocation in new custom homes, rivaling the primary kitchen in terms of design investment. She suggests that this trend allows for more experimental and bold design choices in these smaller, designated areas. Another trend is the increasing popularity of Accessory Dwelling Units (ADUs). These detached smaller homes, often referred to as 'granny flats' or 'in-law suites' in the past, are seeing a revival due to rising land costs, increasing senior care expenses, and a demand for affordable housing options. Charlotte's Unified Development Ordinance, which now permits ADUs, has further spurred interest among homeowners and buyers. Charisma Southerland of Allen Tate Realtors observes that the COVID-19 pandemic and the general spike in the cost of living have accelerated the adoption of ADUs, providing a practical solution for multi-generational living, offering both proximity and a degree of independence for elderly family members. Hobby rooms represent a third evolving design trend. With more people working from home, there's a growing need for dedicated spaces that facilitate relaxation and personal interests. Homeowners are transforming rooms into specialized areas such as home theaters, gift-wrapping rooms, speakeasies, hunting closets, quilting studios, and golf simulators. Rebecca Bridges of House of Drennan exemplifies this with projects like a client's whiskey room, a hidden safe room, and the installation of a medical-grade sauna for wellness purposes. The pandemic played a crucial role in highlighting the importance of personalizing home spaces for individual well-being and leisure activities, shifting focus from resale value to personal enjoyment. Multipurpose rooms are also gaining traction as homeowners seek to optimize space within their properties. These flexible areas are designed to serve multiple functions, often through convertible furniture and integrated storage solutions. Examples include loft beds with built-in desks, garages doubling as art studios or gyms, and entryways equipped with lockers for organization. Preston Craft, co-owner of P.S. Carpentry, notes a renewed interest in Murphy beds, which allow a room to transition from a home office during the day to a guest bedroom as needed. He also highlights a desire for aesthetically pleasing backgrounds for virtual meetings, influencing the design of these flex spaces. Craft’s work often involves space-saving solutions like pocket doors and built-in benches, reflecting a broader desire to maximize functionality in smaller footprints. Finally, outdoor spaces are being enhanced to serve as year-round extensions of the home. The pandemic underscored the value of outdoor living, leading to a demand for patios and yards equipped for various activities, from working outdoors to entertaining. Features like covered areas and elaborate grilling setups, such as the 'multigrill movement' observed by Charisma Southerland, are becoming increasingly common. For new residents in Charlotte, particularly from colder climates, the region's favorable weather allows for extended enjoyment of outdoor amenities, making these spaces attractive features for both owners and potential buyers. The trend also includes requests for screened-in porches and diverse gathering areas, further blurring the lines between indoor and outdoor living.

Identifying antique and vintage glassware can be a fascinating endeavor, yet it often presents challenges due to the diverse production periods and styles throughout history. Glassware is generally classified as antique if it is over 100 years old, while items at least 40 years old are considered vintage. Regardless of its exact age, these pieces can be elegantly integrated into home decor. To begin the identification process, careful observation is crucial. Examining the piece's shape, surface texture, weight, and overall quality can offer initial clues. Key questions to consider include whether the glass is transparent, opalescent, or iridescent, and if any decorative elements provide hints about its origin or maker. Following observation, checking for signatures or marks is a vital step. These identifiers are typically found on the underside of the glass, though some may be located on the body. If a signature is faint, rubbing the glass with a charcoal pencil can help make it more legible. Leveraging online resources is another effective method. Many auction houses, such as Live Auctioneers, maintain publicly accessible records of past sales, allowing enthusiasts to compare their pieces with similar items that have been auctioned. Additionally, numerous online communities and websites dedicated to glass collectors provide extensive documentation. A notable example is loetz.com, which meticulously details the history and products of a specific art glass firm. Social media platforms, particularly Facebook, also host various groups focused on nearly every imaginable type of glass, offering a collaborative space for identification. For pieces suspected of being particularly valuable, professional consultation with an auction expert is recommended. These professionals can assess the item's worth and determine if it meets the criteria for auction. While glass production spans many eras, a significant portion of glassware found in second-hand shops or inherited collections dates from the late 19th and early 20th centuries. This period is often regarded as a pinnacle for the medium. However, it's important to note that 90 to 95 percent of such glassware is relatively common. The most valuable category is art glass, which comprises pieces created solely for aesthetic appreciation rather than practical use. Two prominent makers from this 'apex' period are Thomas Webb & Sons and Tiffany Studios. Thomas Webb & Sons, based in the U.K., specialized in cameo glass, employing layered glass that was acid-etched or carved to reveal Neoclassical designs. Their creations often depicted mythological scenes, drawing inspiration from ancient Roman glass unearthed at the time. In the U.S., Louis Comfort Tiffany's Tiffany Studios produced Favrile glass, known for its handmade quality and iridescent finish. Tiffany was influenced by the iridescent effects observed in ancient Roman and Egyptian glass, and his studio successfully replicated this appearance. Tiffany Studios is widely recognized as one of the most significant glass manufacturers in history, with its pieces often commanding high values. Most Tiffany pieces are signed, though contemporaries also produced similar styles, sometimes with hard-to-identify marks. Ultimately, regardless of its monetary value, any piece of glassware can serve as a beautiful and meaningful addition to a home. #antiqueGlassware #vintageGlass #glasswareIdentification #artGlass #ThomasWebbAndSons #TiffanyStudios #homeDecor #collectibleGlass #decorativeArts

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

The historic district of St. Charles, Missouri, offers a diverse selection of shops catering to furniture and home decor enthusiasts. This guide, featuring recommendations from local homeowners and business owners Lydia Crespo and Meghan Reed, highlights several key establishments where shoppers can find unique items, from vintage treasures to modern botanicals. Lydia Crespo, owner and maker of Argaman&Defiance and Cozy Shop, recommends several places. The Foundry Art Centre (FAC), located at 520 N. Main Center, is described as a vibrant hub for the arts, housing 12 full-time working artists. Visitors can observe artists at work and explore two galleries featuring unique artworks, many available for purchase. An insider tip suggests attending their monthly first Friday open house for live music, drinks, art activities, and early access to new exhibitions. Fig & Sparrow, Main Street Provisions, situated at 300 N. Main Street, is a recent addition to the area, specializing in high-end cookware and kitchen accessories. Subscribing to their email list or following them on social media is advised for updates on specials and sales. Fox & Hound, found at 625 S. Main Street, offers a nostalgic journey with its collection of pristinely maintained antiques and timeless home furnishings. Shoppers are encouraged to call ahead due to fluctuating hours and to experience their renowned customer service. The Potted Plant, with locations at 524 S. Main Street and 1257 St. Peters Cottleville Rd., caters to plant lovers, offering tropical houseplants, unique planters, garden flags, and botanically inspired decor. The Main Street location is ideal for small gifts and houseplants, while the Cottleville shop has a larger inventory, including trees, shrubs, and large monstera plants. The White Hare, located at 1010 Miralago Way in Cottleville, is highlighted for its curated selection of fine furniture, knick-knacks, and artwork, particularly its silk flower section. An insider tip points out additional beautiful items upstairs that might be easily missed. Lastly, Art Glass Array, at 501 N. Kingshighway, is a former auto body shop transformed into a glass sculpture gallery and teaching space, offering vibrant glass art for purchase and workshops. The upstairs Art Meets Glass gallery, run by Gregory Dierlam, features an eclectic mix of handmade art and vintage treasures. Meghan Reed, a designer and marketing creative at M x Reed Studio, also provides her top picks. Second Hand Chic Marketplace, at 910 North Second St. in the Frenchtown historic district, is a large antique store filled with vintage and rustic items, shabby-chic decor, and refurbished furniture. It operates only on the first full weekend of each month, and early arrival is recommended for the best selection. The Foundry Art Centre is also mentioned again by Reed, noting its two levels of art studios and gathering spaces for artists, with many awe-inspiring pieces available for sale. She highlights interdisciplinary artist Zack Smithey, who has been featured on Netflix, as one of the artists found there. Mad Hatter Antiques & More, at 724 S. Main St., draws attention with its collection of 1904 World’s Fair memorabilia and Civil War Era antiques. The owners' willingness to share the history of their pieces adds to the shopping experience. It is conveniently located near Joy’s Collective Market, known for its rusted metal topiary frames and a large collection of vintage books. Two Chicks Vintage Marketplace, an 8,000-square-foot space at 205 North Main Street, offers a wide array of vintage furniture and clothing, with the advantage of being open seven days a week. Additional shops suggested for exploration include Black Cat Antiques & Such, French Connection Antiques, Frenchtown Antique Mall & Collectibles, Gallery Augusta, Hobbit’s Hole Antiques & Collectibles, Joys by Austin Warren Design, Joys Collective Market, Katy Trail Collections, Moonumental Jewelry Emporium & Makerspace, and October Moon Trading Co. These recommendations provide a comprehensive guide for anyone looking to explore the diverse and rich offerings of historic St. Charles for home decor and furnishings. #HistoricStCharles #HomeDecor #FurnitureShopping #AntiqueShops #ArtGalleries #LocalBusinesses #StCharlesMissouri #InteriorDesign #VintageMarketplace

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

The article details Christina Hall's top recommendations for holiday table decor and hosting essentials, all available on Amazon. Hall, a well-known HGTV star, recently hosted a livestream where she shared her insights and showcased the exact items she uses in her own home. The focus is on creating a festive and welcoming atmosphere for holiday gatherings, providing practical tips for hosts. Central to Hall's decorating philosophy is setting the mood with appropriate lighting. She highlights the importance of garlands or table runners as foundational elements, specifically endorsing a six-foot-long Christmas garland from Party Joy, which comes pre-lit with LED string lights offering eight different modes. For illumination, she advises against harsh bright lights, favoring warmer, softer tones emitted by candles. Given the presence of children, Hall recommends electronic taper candles, like those from GenSwin, and rounded chunky styles that can be controlled remotely, ensuring safety while maintaining ambiance. Beyond lighting, Hall discusses her preferences for table settings, including dinnerware, cutlery, and glassware. She mentions displaying Dingerjar Hobnail Drinking Glasses on her floating shelf at home due to their aesthetic appeal and vintage-inspired design. The article also covers her choice of metal gold taper candle holders to elevate the look of the electronic candles. For decorative accents, she suggests faux velvet trees in wine and gold hues from Your Heart's Content, which add warmth and a festive touch to the tablescape. The article also delves into practical hosting items that Hall finds indispensable. These include a plate warmer from Chefman, crucial for keeping cooked food warm, especially when oven space is limited or for guests taking second servings. A dessert stand is also recommended for presenting holiday treats. For the actual table setup, Hall suggests Home Brilliant linen placemats for a casual yet seasonally appropriate feel, particularly for those celebrating in warmer climates. Complementary Ramanta Home cloth dinner napkins are also featured, encouraging a more refined dining experience over paper towels. For flatware, Hall expresses a preference for gold and recommends the VANVRO Matte Gold Silverware Set. She also highlights the famiware Milkyway Plates and Bowls Set, emphasizing the appeal of a cohesive and modern white dinnerware set for a beautiful table. JoyJolt Layla White Wine Glasses are presented as an affordable and durable glassware option, suitable for entertaining. For serving desserts, CHOOLD Embossed Glass Footed Dessert Bowls are recommended for their romantic design. Additional items for entertaining include a JIMEI Marble Toothpick Holder with Lid for charcuterie boards, Besti Rustic Vintage Food Serving Trays for displaying cheeses and fruits or organizing bar areas, and a Sharper Image Electric Tabletop S'mores Maker Kit for an interactive dessert experience, particularly popular with children. Finally, Hall addresses post-party cleanup by recommending the Bissell Revolution HydroSteam Pet Carpet Cleaner, emphasizing its effectiveness in tackling messes left by guests or pets, making the tidying process more efficient. #HolidayDecor #TableDecor #Amazon #ChristinaHall #HomeDecor #Entertaining #HostessTips #Lighting #Dinnerware

The art of glassblowing, once considered a craft material, has experienced a resurgence in the design world, captivating a broader audience and establishing itself as a significant frontier in contemporary design. This renewed interest is evident in various high-profile showcases, including Bradley Bowers’s large-scale Fiosa vase at Dolce & Gabbana’s Salone de Mobile exhibit, a new record-setting hand-blown glass bottle at the Museum of American Glass, and the popularity of the Netflix series "Blown Away." This growing fascination highlights a consumer demand for innovative and unique designs. Designers and artisans are pushing the boundaries of traditional glassblowing techniques, creating pieces that are both functional and artistic. This article features six such artists whose work exemplifies this innovative spirit. Ursula Futura, based in Vienna, crafts sculptural Eclipse Vases with elegant carved windows. These mouth-blown vases showcase an interplay of light and varied hues, drawing inspiration from nature, science, and moments of wonder. The studio aims to evoke joy and curiosity through its designs. Another featured collaboration brings together film producer Rebecca Marks and Venetian glass designer Paola Petrobelli, resulting in the Verdi II and Ambra Murano Portable lamps. These miniature, cordless, rechargeable, and water-resistant lamps come in seven colors and feature Murano glass with distinct gems at their core, providing a striking contrast against their colorful outer shades. These portable lights offer both practicality and aesthetic appeal. Seattle-based glass artist John Hogan presents his latest collection, "Menagerie," for the Future Perfect gallery. This collection comprises 105 palm-sized glass objects, emphasizing that impactful design doesn't always require large scale. Hogan's technique involves working with glass in its cold state, resulting in a vibrant and refreshing interpretation of the ancient art form. The Kaanch Glass Series Vessel I is a product of a collaboration between Guatemalan-based Diego Olivero Studio and artisans in New Delhi. The series, whose name "Kaanch" means "glass" in Hindi, includes 11 abstract, colorful vessels and lights. These pieces feature playful shapes welded onto clear borosilicate glass surfaces, known for its resistance to temperature changes, making them both durable and visually appealing. Sticky Glass, a Brooklyn-based design company, showcases its lighting collection, including Bubble Pendants and Mingling Lamps. Each piece is hand-blown, highlighting the fluid nature of glass through its bubble formations, and finished with a custom brass base for a modern touch. The company affectionately calls these "lights that hug," reflecting a current trend toward "blobby" and organic forms in design. Finally, designer Laura Kramer’s Marie vessel, displayed at the Heller Gallery, draws inspiration from natural scenes like barnacles on a boat hull. Her work aims to explore the "hybridity of made and natural materials," questioning traditional classifications and delving into liminal spaces between categories. These pieces exemplify how art can not only mimic nature but also enhance and reinterpret its perceived imperfections. Collectively, these artists demonstrate a commitment to innovation, artistry, and the continuous evolution of glass as a medium in the design world. Their works range from functional lamps to sculptural vases, all united by their exceptional craftsmanship and ability to transform molten glass into captivating objects that resonate with contemporary aesthetic sensibilities. #Glassblowing #HomeAccessories #ContemporaryDesign #ArtisanCraftsmanship #InteriorDecor #MuranoGlass #LightingDesign #SculpturalVases