High-tech production creates a handcrafted look

The interior design landscape is currently undergoing a significant shift from the previously dominant minimalist aesthetic of bright white walls, beige accents, and sparse decor. A new trend, dubbed "Dark Glamour" by Benjamin Moore, is emerging, characterized by deep, moody hues, rich jewel tones, dusky neutrals, and metallic accents, often with a gothic undertone. This shift emphasizes creating spaces with more color and emotional depth, moving away from a strictly neutral palette. Local interior designers are embracing this change, offering insights into successfully integrating these richer palettes into home environments. Tammie Ladd, owner of Tammie Ladd Design, highlights the importance of incorporating living elements like plants to prevent dark spaces from feeling too heavy. She also stresses the significance of contrast, drawing parallels to black-and-white photography, where a balance between light and dark elements—such as a dark floor with white walls or dark cabinetry with lighter hardware—creates visual interest and energy. Ladd illustrates this by describing a home study she designed with midnight blue walls contrasted by an untouched warm-toned wood ceiling, noting the complementary energy between blue and orange tones. Kasey Dobbins of Foxwood Design Co. shares a similar perspective, suggesting that for those hesitant to paint entire walls dark, painting the ceiling can be an effective alternative. She advises against an all-black-and-white scheme, preferring rooms within a mid-tone range for a more inviting feel. Dobbins encourages homeowners to select colors they are inherently drawn to, suggesting that personal comfort and preference should guide color choices, allowing homes to reflect individual personalities. Lighting plays a crucial role in these richly colored spaces. Ladd acknowledges the contribution of lighting specialists, emphasizing that strategic lighting can transform a dark room. Dobbins advocates for a layered lighting approach, combining various sources such as can lights, ambient sconces, and table lamps to create depth and warmth. She also provides practical advice for naturally low-light areas like basements, recommending medium-tone colors over very dark or stark white options, as white can make such spaces feel institutional. Beyond color and light, texture is another essential element for enhancing moody interiors. Ladd favors velvet for its calming properties and visual interest, while Dobbins is drawn to nubby bouclé fabric. Other textural elements like woven shades, sisal rugs, and waffle weave blankets can also enrich dark spaces. The article notes that even sheepskin throws, when used judiciously, can contribute to this textural complexity. Grasscloth wall coverings, reinvented with contemporary colors, are also recommended for adding a sophisticated textural layer. For luminous touches, natural stone, mirrored materials, and metals are suggested, particularly to complement candlelight. This trend towards rich colors and textures is seen as a corrective response to the previous monochromatic design extreme, aiming to reintroduce warmth and energy into living spaces, offering numerous options for homeowners to create refreshingly moody and personalized interiors. #InteriorDesign #DarkGlamour #ColorTrends #HomeDecor #TexturalElements #LightingDesign #MoodPalette #DesignTips #SpokaneDesigners

Orvi is a distinguished Indian brand that seamlessly integrates traditional craftsmanship with modern technology to produce bespoke surfaces and home pieces. The brand specializes in creating innovative surfaces for walls and floors, as well as a diverse range of home items including artistic wall decor, handmade furniture, serve ware, and home accessories. Orvi's commitment to blending artistry with technological advancements is evident in its varied finishes, which encompass natural stone, wood, liquid metal, ceramic, and glass. The brand prides itself on employing over 200 in-house artisans who bring global craft techniques to life, such as intricate stone-in-stone inlay, hand-sculpting, and raku firing, transforming surfaces into works of art. Founded in 2013 by Sanjeev Agrawal, Orvi is a culmination of his extensive background in the gemstone business and his profound appreciation for modern aesthetics and meticulous detail. Agrawal's entrepreneurial journey began in 1992, and his vision for Orvi was to champion traditional Indian handcrafted techniques while pushing the boundaries of contemporary design. Under his leadership, Orvi has garnered international recognition, engaging in prestigious projects worldwide and exporting its products to countries including Germany, the USA, and various European nations. Orvi's design philosophy is rooted in a creative fusion of Western aesthetics with artisanal techniques sourced from Asia and beyond. Craftsmanship, technology, and tradition form the foundational pillars of its design language, differentiating it in the market. The brand is celebrated for its innovativeness and its unique surfaces, which are versatile enough for both interior and exterior applications. Furthermore, Orvi's home pieces are thoughtfully inspired by the subtle nuances of everyday life, crafted from natural materials and molded into elegant forms. At the AD Design Show 2022, Orvi showcased several of its prominent collections, including Palacio, Arazzi, Trenza, and Tesserae. The Trenza collection features solid stone surfaces with diverse textures, suitable for both walls and floors. These artisanal surfaces draw inspiration from organic natural elements, characterized by distinctive lines and strokes, each exhibiting unique variations in design and color. The collection's bespoke elegance is enhanced by micro-engraved solid stone and tactile textures, meticulously refined by artisans. In contrast, the Tesserae collection reintroduces 12th-century Roman micro mosaic art, making it ideal for decorative wall features. This collection meticulously utilizes minute pieces of stone, glass, and semi-precious tesserae to craft vivid, textural, and evocative patterns that achieve a compelling three-dimensional effect. These collections exemplify Orvi's dedication to preserving traditional art forms while innovating for contemporary spaces. #OrviSurfaces #Craftsmanship #ModernTechnology #HomeDecor #BespokeSurfaces #IndianHandicrafts #ArchitecturalDesign #ADDesignShow #ArtisanalTechniques

Gilles de Brock, a graphic designer based in Antwerp and Amsterdam, has embarked on an unconventional journey, transitioning from traditional graphic design to becoming a multi-faceted creative who also works as a ceramicist, rug maker, engineer, and electrician. This article details his latest endeavor: building a computer numerical control (CNC) ceramic printer capable of applying graphic glazes to ceramic tiles. This project follows his previous success in automating the design process through a machine that printed acrylic paint on paper and textiles, a venture he described as a metaphor for reclaiming the production process and democratizing automation tools. His earlier printer was envisioned to evolve into a five-head system for ceramic tiles, a goal he has now achieved. De Brock's CNC ceramic printer represents a modern reinterpretation of an ancient craft, blending the aesthetic of handmade items with the precision of mathematical machine processes. The development of this machine was a complex undertaking, presenting numerous frustrations and challenges, particularly given his background as a graphic designer with limited initial knowledge of ceramic glazing or CNC mechanics. He highlights the unusual nature of a graphic designer building such a machine, emphasizing his desire to imbue ceramic glazes with authenticity and depth while translating them into a graphic form. The resulting ceramic tile compositions successfully merge the physical qualities of ceramics with the structured order of graphic design. Color has always been central to De Brock's practice, and the vibrancy of ceramic glazes was a natural progression from his earlier work with richly dyed rug fabrics. His exploration into the chemical aspects of oxides, color mixing, and staining for his ceramic tiles showcases years of dedication to color assessment and technical experimentation. The most significant hurdles during the CNC development involved debugging system glitches, an area where De Brock initially possessed no expertise. He reflects on his journey from knowing nothing about engineering and electronics to acquiring fundamental skills, which have become indispensable to his current practice. Once the machine became functional, De Brock shifted his focus from engineering to design, curating tiles into diverse compositions that each tell a unique story. The machine produces one-centimeter-thick lines, resulting in a low resolution of 70 to 100 pixels per print. This limitation, which he views as a liberation rather than a restraint, forced him to rethink his design approach, adapting his previous work to this specific aesthetic dictated by the medium. He appreciates how a tool can define an aesthetic, seeing it as a way to reduce the overwhelming possibilities of a blank canvas. De Brock's ceramic tile compositions have recently gained recognition, being exhibited at Amsterdam's Unfair art show, an unexpected outcome for a trained graphic designer. While effective in an artistic context, he primarily envisions these compositions as applied designs for interiors, potentially adorning the walls of restaurants or hotels. Looking ahead, De Brock has several projects planned, including exhibitions at Portland’s Fisk Gallery, Gallery my Monkey in France, and Le Signs in 2022. He is also collaborating with the Seoul-based Risograph printers, Corners, on a new publication featuring his ceramic tiles. #GraphicDesign #Ceramics #CNC #Automation #ProductDesign #Artisan #InteriorDesign #CreativeProcess #Technology

The increasing adoption of additive manufacturing has expanded the role of 3D printing beyond industrial applications, establishing it as a versatile medium in art studios and various creative fields. This technology facilitates the creation of innovative artistic, conceptual, and cultural works, and has even contributed to the digital preservation and reconstruction of historical artifacts and global heritage sites. While not always the central focus, 3D printing often serves as a crucial supporting tool, enabling designers, artists, and artisans to realize new designs and concepts. A prime example of this collaborative approach is found in the Forma Fabrica collection by industrial designer Nir Neria. This collection reinterprets the traditional porcelain vase by exploring the interplay between different materials and design processes. Neria's method integrates slip casting, a ceramic technique typically used for complex shapes that traditionally relies on plaster molds. However, Neria has modernized this ancient technique by combining it with 3D printing and textiles, resulting in a novel, sustainable, and reusable molding process. The design process begins with computer-aided design (CAD) software, where the vase is rendered in 3D. This digital stage allows for precise definition of each mold component and how they will interlock. Subsequently, these mold components are 3D printed. These printed parts are then integrated with fabric, which the artist sews together. The assembled fabric and 3D-printed elements form the mold, ready for porcelain slip casting. During casting, liquid porcelain is poured into the mold and then drained after a sufficient layer has adhered to the inner fabric walls. Once the porcelain reaches the desired firmness, the mold can be disassembled, and the piece is prepared for firing in a kiln. The use of fabric as a molding material imbues the finished vases with distinctive visual and tactile qualities. The impressions of the cloth's texture, stitching, and folds are visibly transferred to the surface of the vessels, creating an intriguing contrast between the perceived weight and malleability of the material. Furthermore, the application of pigments to the inner fabrics before casting introduces an additional dimension, infusing color that mimics marbling or even denim patterns. A significant advantage of this method is the reusability of the mold. The modular nature of the 3D-printed support structure also allows for extensive customization, enabling the creation of numerous unique shapes and configurations from a relatively small set of initial components. The Forma Fabrica collection exemplifies Nir Neria's commitment to innovative design, with 3D printing and sustainable biomaterials increasingly central to his work. #3DPrinting #AdditiveManufacturing #VaseDesign #CeramicArt #SlipCasting #IndustrialDesign #SustainableDesign #TextileIntegration #NirNeria

The enduring appeal of industrial design, exemplified by spaces like Andy Warhol’s Silver Factory with its exposed beams and raw materials, continues to shape contemporary aesthetics. This design philosophy, characterized by its no-frills and utilitarian approach, is particularly evident in modern bathroom design. Neo-Metro, a California-based company established in 1998, has successfully transitioned from primarily serving the residential sector to offering durable and artful industrial chic washbasins and toilets for commercial applications. The company’s products often feature custom powder-coated stainless steel fixtures, allowing for unique geometric patterns and negative space designs that Kristin Kahle, VP of Neo-Metro, notes provide dramatic results. Central to Neo-Metro's commercial offerings is the environmentally-friendly and hygienic WEDGE basin. This innovative basin, compatible with various faucets, creates the visual effect of water seamlessly disappearing into an angular space, effectively preventing spillage. Constructed from post-consumer recycled bio-based materials, the WEDGE basin boasts a Class A fire rating, aligning with contemporary demands for sustainable and safe building components. Kahle emphasizes the company's commitment to providing a sustainable commercial basin that stands out in the market, describing it as "functional art." Designers are expected to value its clean lines, straightforward installation, and ease of maintenance. The WEDGE Basin is available in several configurations, including 30-inch one-station, 72-inch two-station, and 96-inch three-station options, offering versatility for diverse spatial requirements. While the blanco (white) solid surface version is typically in stock for quick shipment, other standard colors are available within a few weeks. Furthermore, Neo-Metro provides extensive customization options for designers, allowing them to specify the shape, color, size, and thickness of their products. The company also offers solutions for concealing plumbing fixtures and wall-mount supports, contributing to a minimalist and modern aesthetic. These design details enable the cast resin fixtures, some of which integrate LED lighting, to become focal points without visual clutter. The LED lighting feature, particularly popular in establishments like restaurants and nightclubs, enhances the ambiance by emitting a soft glow from the translucent material, adding a dramatic and functional element to dimly lit environments. Neo-Metro operates under Morris Group International, a company with over 70 years of experience in manufacturing stainless-steel plumbing fixtures for large-scale commercial projects. This long-standing expertise underpins the quality of Neo-Metro’s products throughout their design, development, and installation phases. Designers specifying Neo-Metro products benefit from a streamlined process, as items arrive on-site pre-fabricated with necessary connections, ready for immediate installation by plumbing contractors. This hands-on approach by the company significantly reduces preparation time and labor costs, offering an efficient solution for commercial and residential projects alike. #IndustrialDesign #BathroomDesign #NeoMetro #CommercialDesign #SustainableDesign #Washbasins #InteriorDesignTrends #ArchitecturalFixtures #CustomDesign

Aurelie Tu, founder of Craftedsystems, bridges her background in industrial design, specifically in consumer electronics, with her current focus on soft, felted products. After a career designing technological devices for companies like Nike, where she developed wearable electronic products, Tu felt a disconnect from natural and tactile materials. This led her to establish Craftedsystems as an experimental venture with an alternative business model that prioritizes design, handwork, and community involvement. Craftedsystems distinguishes itself by creating a weaving system that is accessible to individuals without specialized skills, fostering group participation. The production model offers incentive-driven wages, paid per piece, encouraging weavers to increase their output as their skills improve. Tu collaborates with local organizations in Portland, such as the YWCA and P:EAR, which supports homeless youth, using the handweaving process as a therapeutic and empowering activity. This approach contrasts with traditional craftwork sales or the appropriation of ethnic cultures' work. Tu's innovative interlocking patterns for Craftedsystems originated from a desire to merge technological and design innovation with handcraft. The initial products, made from felt, utilize a simple system of slots and tongues, allowing the material to interlock without the need for stitching or mechanical fasteners. A distinctive feature is that the internal structure, often hidden in traditional designs, becomes the visual identity of the product line. The design process is iterative, involving the creation and refinement of geometries and patterns to achieve simple production and aesthetic appeal. Felt was chosen as the primary material due to its organic qualities and historical significance as humanity's first textile. Its inherent thickness and solidity appealed to Tu, offering both structural integrity and flexibility, which made it suitable for vessels and voids. The tactile nature of her work, inviting interaction and exploration of how the pieces fit together, is a deliberate outcome of her intention to integrate handcraft as a core design element, producing items that machines cannot replicate. Tu's personal style, which blends modern design, innovation, and technology with an appreciation for materials, textures, crisp geometries, and organic forms, is reflected in Craftedsystems. Her inspiration largely stems from extensive travel, which she considers crucial for expanding creative perspectives by exposing her to diverse ideas and philosophies. While her patterns are primarily geometric and elemental, possibly referencing modern design or natural sequences like the Fibonacci series, they are not tied to specific cultural roots. Her favorite piece is the Asira series, produced by Ligne Roset, which has adapted its production to use waste materials and employ individuals with disabilities for handweaving. Currently, Tu is developing wall hangings and vessels for Room & Board and exploring material hybridization for future projects, seeking new collaborations. #AurelieTu #Craftedsystems #IndustrialDesign #FeltProducts #Handcraft #CommunityEngagement #SustainableDesign #TextileInnovation #ModernDesign #InteriorDecor

Aztec Scenic Design, an Orlando-based firm, has successfully integrated 3D printing into its custom ceiling design projects, offering a more efficient alternative to traditional methods. The company recently completed an Arabian-inspired ceiling for a client, demonstrating the potential of additive manufacturing in intricate home decoration. Traditionally, detailed ceilings can be a significant expense, often exceeding $30,000, due to the labor-intensive process of creating molds and working with plaster. Aztec Scenic Design, however, pioneered a new approach by utilizing 3D printing to produce the decorative appliqués for their custom ceiling. This innovative method was spearheaded by Marc Leonard, a scenic designer at Aztec, who became captivated by 3D printing and sought to merge it with the company's design work. After convincing owner Gabriel Collazo of the technology's potential, Aztec established its own makerspace, specifically for incorporating 3D printing into various applications. The project began with initial drawings by Benjamin Cremer, based on Arabian patterns. Marc Leonard then translated these sketches into 3D models using 123D Design. Austin K. Butler, a scenic designer and fabricator, joined the team to manage the 3D printing process. The actual printing phase involved several 3D printers, including a Tinkerine Ditto+ and multiple Prusa i3 8-inch printers, and took approximately three weeks to complete. The materials used were around six spools of 3mm ABS filament and three spools of 1.75 PLA filament, costing just over $200, a stark contrast to the potential costs of traditional methods. The ceiling structure consists of nine wood panels, which serve as the base for the affixed 3D printed components. Gold-leafed molding, cut with a CNC router, frames the design. The 3D printed pieces underwent a multi-step finishing process: painting with acrylics, aging with oil stains, and finally, touch-ups and glazing. The entire installation, measuring approximately 18 feet by 14 feet, was completed in just two days. One of the most challenging aspects of this project was managing the approximately 400 individual 3D printed parts and troubleshooting five simultaneously operating printers. The team also faced hurdles in working with various software applications, including 123D Design for modeling, MeshMixer for editing, and Slic3r and Repetier Host for slicing. Despite these challenges, the collaborative effort of the entire Aztec crew, including Gabriel Collazo, Marc Leonard, Benjamin Cremer, Janelle Lyons, Timothy Dameron, and a friend named James, proved successful. This project highlights a significant shift in custom interior design, showcasing how 3D printing can streamline complex processes, reduce material costs, and offer greater design freedom. Aztec Scenic Design's success with this Arabian-inspired ceiling has led to further commissions, including another, more intricate ceiling for the same client's theatre, indicating a growing demand for 3D printed architectural and decorative elements. #3DPrinting #CustomDesign #CeilingDesign #HomeDecoration #AdditiveManufacturing #ScenicDesign #InteriorDesign #ArchitecturalElements #DigitalFabrication

This article offers an exclusive look into the interior design of 'Meraki Beauty & Wellness,' a salon and spa located in Lahore, co-founded by sisters Saba and Fatima. The establishment is presented as a tranquil retreat, offering a complete beauty experience in a Zen-like environment, strategically located away from the bustling commercial areas of Gulberg and near the burgeoning DHA Phase 5. The salon's interior design is characterized by a harmonious blend of modern and industrial elements, creating a stylish yet comfortable space. The designers deliberately moved away from opulent decorations like typical chandeliers and vibrant colors, opting instead for a minimalist, contemporary aesthetic that promotes serenity and inner peace. This approach is evident in the choice of a muted color palette and natural materials, which define the three distinct zones of the salon. The entry from the staircase area is designed as a dark transition space, leading into a lighter, more open main reception and hair styling area. The second floor features grey-shaded sofa seats for manicure and pedicure sessions, alongside separate rooms for makeup and massage. Additionally, three nail art stations are decorated in shades of navy blue, benefiting from natural sunlight and outside views. Strategic lighting plays a crucial role in enhancing the ambiance and highlighting key interior design elements. The second floor, in particular, exudes a bright and cheerful atmosphere. The owners, Saba and Fatima, emphasize the importance of hygiene, client satisfaction, and continuous in-house training, with Saba having completed multiple training courses in skin and hair from Dubai and New York. The waiting area provides ample seating, and the overall artsy design, infused with contemporary touches, is given a warm character through bright pops of pink and purple against a backdrop of black and grey, breaking potential monotony. The interior is also designed to optimize space, incorporating areas for Pilates and yoga classes, along with a small health bar, creating a homely setting for clients. Functionality and ease of maintenance are also key considerations, as demonstrated by the use of leather upholstered furniture and wall panels that are easy to clean. The decor maintains a simple and functional appeal, reminiscent of a traditional living room, yet includes occasional glamorous accents. Wrought iron encased lights contribute to the sophisticated look without being ostentatious, and subtle gold strokes add an elegant touch. Laser-cut separators and the salon's logo in gold and black serve as central design features. The sisters, strong advocates of minimalism, frequently intend to refresh the salon's look to provide a novel experience for their clientele, ensuring every detail is meticulously managed to offer a high-quality, personalized service. The spa area further exemplifies thoughtful space planning with wooden flooring, racks, and display furniture, complemented by planters and cozy sofas that create a soothing ambiance, catering to the city's style-conscious clientele. #SalonInteriorDesign #SpaWellness #LahoreBeauty #MinimalistDecor #ModernIndustrial #ZenEnvironment #PersonalizedService #SpacePlanning #ClientExperience

Studio GdB, founded by Gilles de Brock and Jaap Giesen in ‘s-Hertogenbosch, The Netherlands, has revolutionized ceramic tile production through the development of a custom-built digital printer. This innovative machine allows for the computer-controlled application of liquid glazes onto ceramic tiles in their biscuit state, resulting in unique and highly customizable designs. The studio's process addresses a previous limitation in finding suitable finishes for their design vision, prompting them to engineer their own solution. This bespoke technology enables them to create a diverse range of patterns and vibrant color schemes, offering endless possibilities for aesthetic expression in tile design. The tiles produced by Studio GdB are characterized by their bold colors and visually complex, almost psychedelic patterns, which evoke a handmade quality despite being digitally fabricated. This blend of precision engineering and artistic flair allows for a broad spectrum of design choices, from subtle and understated to highly intricate and elaborate, catering to various design preferences. The custom printer's capability to accurately apply liquid glazes directly onto the ceramic surface ensures a high level of detail and consistency in each tile, surpassing the limitations of conventional manufacturing methods. The development of this specialized machinery highlights a creative approach to overcoming technical challenges in the design and production of ceramic tiles. By taking control of the manufacturing process, Studio GdB has opened up new avenues for customization and artistic experimentation within the realm of interior design materials. The studio's commitment to innovation has enabled them to achieve desired finishes that were previously unavailable, offering designers and consumers access to truly distinct and personalized tile options for various applications, from staircases to coffee tables and backsplashes. The resulting product line from Studio GdB provides an opportunity for integrating unique and visually striking elements into interior spaces, allowing for highly personalized and dynamic environments. The ability to create seemingly infinite patterns and color combinations means that each project can feature a bespoke tile installation, reflecting individual tastes and design concepts. This innovative method bridges the gap between traditional craftsmanship and modern technology, creating ceramic tiles that are both a functional building material and a work of art. The tiles are suitable for diverse settings, adding a distinctive touch to both residential and commercial projects. #CeramicTiles #DigitalPrinting #CustomDesign #InteriorDesign #StudioGdB #HomeDecor #ArchitecturalSurfaces #GlazeApplication #InnovativeManufacturing

This article highlights 15 emerging talents in product design who are making significant contributions to the industry. These designers and studios showcase innovation across various materials, techniques, and product categories, ranging from home furnishings to decorative objects. Lucie Roy, a member of the Kaléidosco collective in France, specializes in float-glass wall tiles. Her Blue Lands tiles manipulate translucency and opacity with aqueous hues, achieved through multiple enamels and three firing processes, and finished with subtle gold details. Bond Hardware, founded by Dana Hurwitz and Mariah Pershadsingh, originally known for jewelry made from scrap metal, has expanded its offerings to include home furniture. Ben Erickson's Erickson Aesthetics presents the "Halo Drippp," a product that integrates a rainbow spectrum into a fundamental form. Soft Geometry, led by Palaash Chaudhary and Utharaa Zacharias, focuses on shapes and references dessert in their new collection. Asa Pingree, drawing inspiration from his boat-building apprenticeship, explores fiberglass in his Brooklyn workshop, evident in his experimental stool designs. Jude Heslin Di Leo, inspired by feng shui principles, created "Amplifier," a 15-inch-high table crafted from pure quartz crystal, intended to enhance natural energy. Sasha Burchuk, founder of New Age Design Studio, reinterprets the ancient terrazzo technique for cement tiles and candleholders, utilizing ethically sourced precious and semiprecious stones in her "Gemstone Terrazzo" and "Ziv" lines. Marie Schumann, a Swiss designer, creates vibrant tapestries called "Softspace #5" and "Softspace #6." These textiles feature haptic fringing and draped threads, woven from materials like Lurex, Trevira CS, or cotton on an industrial jacquard loom and distributed through OKRO. Henri Judin’s "Liquorice" shelves, available vertically or horizontally, are crafted from black rods of bent and powder-coated steel by Lankapaja metalsmith, evoking the candy they are named after and sold through Young Finnish Design. Felicia Arvid, a former fashion designer, introduces "Addéra," a reconfigurable daybed. Its wool-covered cushions, armrests, backrests, and painted-birch tablet can be rearranged to slot into a tubular-steel base. Emiliana Gonzalez and Jessie Young, founders of Estudio Persona, launched "Flecha," an angled side table made of mahogany-veneered plywood, coinciding with the opening of their Los Angeles showroom. Virginia Valentini and Francesco Breganze of LatoxLato designed "Aracne," a coffee table with a 40-inch-diameter glass top supported by eight legs in light oak or dark walnut, noted for its innovative structure. Brecht Wright Gander of Birnam Wood Studio collaborated with jeweler Suna Bonometti on "Brutiful U&I," a cocktail table inspired by Carlo Scarpa’s Brion Cemetery, made from Valchromat wood-fiber visible through an acrylic top. Kyle Comeaux, founder of Komolab, offers "Walden," a dog bed featuring a walnut or white oak base topped with a removable wool-upholstered cushion and a waterproof liner. Finally, Daria Belyakova designed "Paspartu," an armchair described as an "inhabitable sculpture." It is made from chromed, molded fiberglass with wool upholstery and is supported by a nearly invisible glass stand, available through Palisander Gallery. These designers represent a diverse range of styles, materials, and functional applications within contemporary product design. #ProductDesign #RisingStars #InteriorDesign #FurnitureDesign #HomeDecor #TextileDesign #GlassArt #ContemporaryDesign

The shift to working from home has transformed personal living spaces into hybrid offices, prompting a reevaluation of household products and their functionality. Recognizing this new paradigm, New York-based Smart Design embarked on developing a four-piece transitional lighting collection in collaboration with 3D printed lighting manufacturer Gantri. The collection, known as the Aim Collection, was conceived to address the challenges of integrating professional work environments into compact home settings, where space is a valuable commodity. Industrial Design Director Dan Grossman highlighted that the design inspiration stemmed from the need to adapt existing home spaces, such as dining tables, into effective workspaces. This led to the creation of four distinct lighting solutions tailored for various work-from-home scenarios: a floor lamp, a directional task light, a lantern, and an upcoming clamp light. The core principle of the Aim Collection is adaptability, with each light designed to offer simple yet ingenious solutions to modern living challenges. For instance, the Aim Task Light allows users to effortlessly transition between directional task lighting and ambient lighting by simply adjusting its arm. Grossman further noted the intricate connection between mood and lighting, and how traditional task lighting, often designed for specific creative or productive tasks, needed to be reimagined to provide a more comforting experience in an often-stressful work-from-home context. Despite the apparent simplicity and intuitive nature of the Aim Collection's aesthetics, its manufacturing presented significant technical challenges for Gantri. Prior to this collaboration, Gantri had not produced 3D-printed lights incorporating moving parts. The partnership between Smart Design and Gantri leveraged the engineering expertise of both teams to overcome these manufacturing hurdles. A notable challenge was integrating the power cord within the movable arm of the Aim Task Light, requiring the development of internal hardware with round pivots and tension screws to minimize friction and prevent the cord from dislodging. Grossman emphasized that achieving this level of complexity with articulated joints and pivots through 3D printing was a considerable undertaking, necessitating extensive prototyping and testing to refine material constraints, tolerances, weight, and balance. The Clamp Light, another intricate component of the collection, also demanded the production of multiple moving parts. Smart Design's consumer research underscored the relevance of such a flexible lighting solution, as it revealed that work often occurs in unconventional home settings. The Clamp Light was designed to be highly portable and adaptable, featuring a hinge for easy adjustment and a clamp mechanism that allows it to be attached to various surfaces like shelves or table edges, transforming any spot into a makeshift desk. Ultimately, while 3D printing is central to the production process, Grossman stressed that it serves as an efficient means to an end. The primary objective was to create functional, intuitive products that resonate with customers, regardless of the manufacturing method. The Aim Collection, in alignment with Smart Design's overarching philosophy, prioritizes function and the inherent beauty of simplicity, aiming to provide users with valuable and significant lighting solutions that are easy to understand and use. #SmartDesign #Gantri #3DPrinting #LightingDesign #HomeOffice #FurnitureDesign #ProductInnovation #WorkFromHome #IndustrialDesign

Italian finishing brand Ideal Work has unveiled five new collections on Dezeen Showroom, featuring highly customizable finishes, wall coatings, and flooring options. These products are engineered to emulate the appearance of concrete and metal, offering a versatile solution for transforming spaces without requiring extensive and disruptive renovations. All materials are hand-finished and designed to be between two and three millimeters thick, ensuring a continuous surface with no visible joins and no alteration to the original slab level. One of the featured products, Microtopping, is a micro-cement finish designed for renewing existing surfaces. It allows for a range of colors and intensities and can be hand-finished to achieve polished, silky, clouded, or acid-stained effects. This finish is suitable for both indoor and outdoor applications, including walls, stairs, and bathrooms, and can adhere to various materials such such as concrete, ceramic, and wood, offering a flexible design solution. Purometallo is another innovative offering, a metal powder-based coating that replicates the look of real metal. It is available in six distinct color options, including gold, bronze, copper, pewter, iron, and Corten steel. Different application techniques can create diverse textures, from a shiny foil appearance to an iron-oxide effect. This coating's adaptability makes it ideal for a wide array of surfaces, including walls and furniture, providing a refined metallic aesthetic. Ideal Work has also introduced Lixio Plus, an enhanced version of its Lixio flooring system. This update allows for the use of larger marble aggregates, ranging from five to 12 millimeters, promoting more sustainable material sourcing by enabling designers to select locally acquired marble. Lixio Plus offers customization in terms of marble aggregate size and color and comes in three finishes: glossy, slip-resistant satin, or hammered. Its UV resistance and ability to withstand adverse weather conditions make it suitable for both interior and exterior use. Nuvolato Architop is a three-millimeter-thick finish that mimics the appearance of concrete. Composed of a blend of cement and other ingredients, it can be applied over existing surfaces such as concrete, ceramic, marble, or sand-cement screeds. This finish provides an efficient way to refresh interiors or restore floors, bypassing the need for demolition or extensive remodeling. Nuvolato Architop is particularly recommended for high-traffic public areas, commercial spaces, exhibitions, and industrial-style lofts. Complementing Nuvolato Architop, Concrete Optik is a thin cement polymer wall coating designed to replicate the aesthetic of fair-faced concrete. It is suitable for both interior and exterior walls, and can also be applied to furniture or curved surfaces. Available in a diverse palette of colors and finishes, Concrete Optik allows for significant customization through Ideal Work's proprietary applicators, enabling designers to tailor the coating to specific design preferences. Ideal Work, established in 1997 in Vallà, Italy, specializes in developing and producing a wide range of surfaces, flooring systems, wall coatings, hard landscaping finishes, and decorative cement-based plastering. Their product lines cater to both indoor and outdoor applications, offering styles that span industrial, classic contemporary, minimal, and brutalist aesthetics, highlighting the brand's commitment to versatility and design innovation. #IdealWork #FinishingMaterials #WallCoatings #FlooringSolutions #Microcement #MetalFinishes #InteriorDesign #ArchitecturalSurfaces

Industrial interior design is a style that emphasizes displaying building materials typically hidden, such as cracked concrete, ducting, or unshaded lightbulbs. This approach celebrates practicality, embraces imperfections, and values signs of wear and tear. It can range from a rugged, unfinished warehouse aesthetic to a softer, cozier feel with added textiles and color. The style has become a staple in interior design, even appearing in spaces not originally industrial. This article explores the origins of industrial design, its core characteristics, and how experts define it. Industrial design in residential interiors involves using materials and details traditionally found in factories and warehouses, often featuring raw, less polished materials. It's characterized by exposing the internal structure and construction materials of a building, creating large, open-plan spaces with an unfinished yet cohesive feel. Modern industrial style extends this to buildings that weren't originally industrial, showcasing architectural details. The style glorifies function over form, making normally hidden features into conscious design choices and elevating the functionality of a space to an aesthetic level. This concept suggests a transparency where nothing is concealed, celebrating the underlying work and design. Visually, industrial interior design combines modern slickness with rustic charm, offering an organic, lived-in feel. It is associated with large warehouses, dark lofts, and materials like metal, brick, concrete, and wood. There is a focus on the functionality of spaces and objects, maintaining a pared-back yet bold look with raw and clean backdrops accessorized by color and character through smaller details. This style blends old-world charm with modern simplicity, creating an unrefined and incomplete appearance with visible structural elements such as exposed brick walls, steel beams, and concrete floors. The contrast between smooth metal and grainy wood creates a beautiful combination. Furniture is typically low-profile and simplistic, enhancing the perception of high ceilings and ample space. Windows often feature black metal frames without soft treatments. Flooring is usually concrete, wood, or vinyl, chosen for ease of maintenance. The color scheme draws from building elements, incorporating neutral greys, whites, browns, and blacks, alongside burnt orange from exposed bricks, contributing to a bohemian feel. Key materials in industrial interiors include concrete, used for floors, walls, ceilings, worktops, and accessories, with cracks and stains adding to its authenticity. Exposed structural beams, whether metal or wood, contribute to a factory-like feel, and can be left aged, restored, or painted. Ducts and vents, usually hidden, become decorative elements, often stretching across spaces. Exposed brick walls are central to the style, adding earthy tones and rugged textures. Reclaimed wood, characterized by its ruggedness, dents, and signs of age, is valued for flooring, furniture, and worktops, with markings telling a story. Metal, in various finishes from stainless steel to aged and tarnished, is versatile, influencing the room's mood from slick modern to practical and historic. The industrial aesthetic emerged from the conversion of 19th and 20th-century commercial factories and warehouses into residential spaces, particularly in New York City lofts. Artists in the 1950s, seeking large, light-filled environments, began transforming these utilitarian buildings into live-work spaces. This trend, initially born out of necessity, saw artists and then designers embrace raw elements like rough bricks, exposed metals, and pipework, leading to an honest and authentic look with clean lines and open spaces. Mainstream architects and designers adopted the style in the 1980s and 90s, appearing in various commercial settings. The style's affordability and adaptability for creative inhabitants on a budget also contributed to its rise. From 2010 onwards, industrial-style furniture and features like exposed brickwork became highly sought after, continuing the demand for open-plan, warehouse-inspired living. Industrial spaces typically create an edgy and raw atmosphere. Modern industrial design has evolved to incorporate curves and softness, balancing sharp details with humanizing elements. The style aims for a simple and minimal look while building interest. Its no-nonsense, functional approach, clean lines, reclaimed furniture, and neutral palette, layered with wood, metal, and exposed brick, create a spacious feel with character, suitable for open-plan or smaller rooms. It promotes a feeling of spaciousness and is often paired with a minimal decorating approach, fostering a calm atmosphere. Avoiding clutter is crucial, emphasizing ample storage. The focus remains on materials and natural light, advocating for minimal window treatments and a palette of muted, natural tones like matt blacks, deep browns, soft greys, and off-whites, balanced by varied textures. The clean lines and statement elements blend seamlessly with other styles, offering a layered and considered living environment with opportunities for customization. To achieve an industrial look without living in a converted warehouse, key themes include 'raw,' 'exposed,' and 'unfinished.' A neutral, toned-down color palette is recommended, with occasional splashes of black or dark grey. Walls should be left bare, layouts open, and functional materials like metal, timber, bricks, and tiles from the industrial era utilized. Incorporating elements of weathered wood, exposed metal, stripped floors, distressed leather, linen, and caged metal light fittings with bare bulbs helps create a relaxed industrial feel. Metal elements like shelves, bar stools, or coffee tables are essential. Keeping the space clutter-free ensures furniture and decorative elements are both functional and aesthetically valuable. Exposed brick walls are iconic, but steel beams and tin tiles also contribute to the warehouse atmosphere. Materials such as stainless steel, concrete, or resin, along with metal and leather furniture, are key. For new builds or extensions, exposed steel supports, track lighting, poured concrete floors, and exposed timber joists or brick walls can be incorporated. Industrial style has evolved by blending with other interior design styles due to its flexibility. It integrates well with Scandinavian and Japandi styles, sharing traits like neutral tones, mixed textures, and functionality. This evolution allows for fresh elements and more individual, eclectic spaces. Designers have softened the stark appearance of early industrial interiors, moving towards warmer and more elegant looks while enhancing space qualities. It is increasingly used in residential settings, often mixed with softer materials and refined elements for comfort. This eclectic approach allows individuals to infuse their distinctive style, combining industrial elements with vintage furniture, delicate accessories, or Mid-Century lighting, using contrasting textures and materials to create impactful interiors. Today, the focus has shifted from rusty and rough to premium, luxurious, and high-quality materials that ensure longevity. Softening the industrial look can be achieved through soft furnishings and splashes of color, such as statement rugs and cushions. Large rugs, art, and statement lighting create focal points in open-plan schemes, preventing emptiness. Combining industrial elements with other trends, like comfortable sofas and vintage rugs, adds contrast and warmth. Bold wall art introduces color and coziness. Soft furnishings in bright colors or a chandelier add personality, and roller blinds in natural fabrics soften metal-framed windows. Incorporating plants on metal cabinets or varied foliage on sideboards creates a gentle, tumbling effect, softening hard lines. Strategic lighting is crucial; varying light types, creating pockets of illumination, and using dimmer switches can instantly change the atmosphere and add warmth. Industrial design, despite its origins, remains current and adaptable, constantly evolving to fit modern needs, blending with other styles while retaining its core elements of simplicity, functionality, and worn qualities. It is considered a timeless aesthetic that continues to adapt and flourish. #IndustrialDesign #InteriorDesign #HomeDecor #ArchitecturalStyle #RawMaterials #ExposedElements #LoftStyle #DesignTrends #ModernIndustrial

The article discusses the launch of Weft, an innovative online platform aiming to revolutionize the woven fabrics industry. Developed by Brooks Hagan, an associate professor of textiles at RISD, and Steve Marschner, a computer science professor at Cornell, Weft provides direct access to manufacturing for custom woven fabric orders, starting from as low as three yards. This platform distinguishes itself from surface-printed fabric providers by focusing on true woven designs, offering a unique service in the market. The project received research support from the National Science Foundation and a Small Business Innovation Research grant, highlighting its technological and entrepreneurial significance. Weft empowers users to personalize their fabric designs by allowing them to select colors, weave structures, and quality parameters, as well as define repeat sizes. This level of customization is particularly beneficial for independent designers working on smaller-scale projects, enabling them to create unique textiles without the high minimum order quantities typically associated with custom manufacturing. Users of the Weft platform have the flexibility to upload their own designs or photographs, integrating personal artistic vision into their fabric creations. Alternatively, they can customize existing designs available on the site. Beyond custom design, Weft also features a curated selection of limited-edition textile designs created by various artists. The article names Stephanie Pender, Kevin Zucker, Julia Dault, John Caserta, and Julian Kreimer as some of the collaborating artists, emphasizing the platform's commitment to artistic diversity. Hagan explains that the selection of artists from diverse fields was a deliberate choice to demonstrate the software's accessibility and utility to a wide range of creative individuals, regardless of their background. This approach aims to democratize access to custom fabric production, making it available to more designers and artists. In addition to custom orders, Weft operates an online shop offering ready-made woven jacquard fabrics. These fabrics are manufactured in the U.S. and include open-source options, further promoting customization. The versatility of these fabrics makes them suitable for various applications, including upholstery, drapery, and apparel, catering to a broad spectrum of interior design and fashion needs. Weft ensures efficiency by fulfilling custom fabric orders through its network of partner mills, boasting a quick turnaround time of as little as three weeks. This rapid production cycle is a significant advantage for designers and businesses seeking timely delivery of specialized materials. #WovenFabrics #CustomDesign #TextileIndustry #RISDInnovation #DigitalLoom #ManufacturingAccess #IndependentDesigners #ArtisticCollaboration

Echo Petersen, founder of E Lee Designs, has found a creative outlet for her artistic passion by creating a variety of home decor and kitchen items featuring unique swirled acrylic paint designs. Petersen's work, which includes handblown coasters, trivets, charcuterie boards, and holiday ornaments, will be showcased at the 605 Made Holiday Market in Sioux Falls. Her designs are characterized by their vibrant colors and intricate patterns, achieved through a technique of blowing acrylic paints with drinking straws onto surfaces like ceramic tiles, wooden cutting boards, and canvases. This method allows colors to remain separate and distinct without blending, resulting in visually striking pieces. Petersen's journey into this craft began after she retired from her career as a financial assistant. Inspired by a set of handblown coasters she encountered during a trip to Fort Collins, Colorado, she dedicated herself to learning and mastering the technique. This involved extensive research through online videos and significant experimentation to develop her own proprietary mix of acrylic artist paints. Her husband, Bryce, supports her endeavors by creating custom oak frames for her canvas pieces. Each item crafted by Petersen undergoes a meticulous, multi-stage process that spans approximately one week. After the initial paint application, the piece requires time to dry and for the paint to cure. Following this, Petersen prepares the item by sanding its back and carefully taping it before applying a resin layer, which then takes an additional three days to dry. This commitment to quality ensures the durability and longevity of her handmade products. E Lee Designs offers a range of items, from small porcelain tile coasters to larger six-inch porcelain trivets and various wooden cutting boards. A particularly popular item that frequently sells out is her bamboo charcuterie board, which features pullout drawers and includes small wooden utensils, all adorned with her signature handblown paint designs. Petersen prioritizes using high-quality materials to ensure customer satisfaction and product resilience. In her creative process, Petersen pays close attention to current interior design trends, specifically monitoring popular colors in furniture and granite countertops. This awareness guides her selection of hues, ensuring her designs complement contemporary home aesthetics. She also incorporates micro powder glitter into her paints to add a subtle shimmer to the finished pieces. Popular color palettes in her collection include gray-beige, purple, and various autumn colors, while her personal favorite combination involves navy blue, moss green, and gold. This will be E Lee Designs' first participation in the 605 Made Holiday Market, though Petersen has previously showcased her work at vendor shows across South Dakota in cities such as Brookings, Pierre, Aberdeen, and Yankton. The 605 Made Holiday Market, an event organized by Knotty Gnome Variety & Salvage, Sew Doggy Boutique, and SiouxFalls.Business, and sponsored by The First National Bank in Sioux Falls and Dakota Business Finance, will feature over 40 makers. It is scheduled for Saturday, December 7, from 10 a.m. to 4 p.m. at Cherapa Place in downtown Sioux Falls, with free admission for attendees. #E Lee Designs #HandmadeDecor #AcrylicPouring #HomeDecor #HolidayMarket #Craftsmanship #ArtisanProducts #SmallBusiness #SiouxFallsEvents

The design studio Kram/Weisshaar, comprising Stockholm-based Reed Kram and Munich designer Clemens Weisshaar, has developed an interactive installation named Robochop. This innovative project allows users to remotely control robotic arms to sculpt custom furniture pieces and abstract sculptures from foam cubes. The installation is a pop-up robotic plant specifically designed and coded for CODE_n, a digital innovation platform. The Robochop installation features four robotic arms, typically employed in car manufacturing, which are made accessible to online users globally. These users can direct the robots to carve objects from 50-square-centimetre foam cubes. The system integrates a sophisticated mechanism where the robotic arms, fitted with needle grippers, retrieve and position dense foam blocks from a storage unit. Each robot's pedestal includes a cutting wire that heats up to slice sections from the foam cube as the robot manipulates the block's surface over the wire. Kram/Weisshaar developed a dedicated application that serves as the interface for users. Through this app, individuals can create design instructions for the robots using hand gestures on a touchscreen. Once a design is finalized and uploaded to the system, the robotic arms execute the cutting process. Upon completion, the personalized products are packaged and shipped to their respective creators. The installation was open to both internet participants and on-site visitors at the CeBit 2015 IT fair in Hannover from March 16 to March 20. This project builds upon Kram/Weisshaar's previous work, such as the 2010 Outrace installation in London's Trafalgar Square. Outrace enabled global users to control six robotic arms to create light patterns. According to Weisshaar, Robochop signifies an evolution from creating virtual media, as seen in Outrace, to manufacturing tangible, real-world objects. The studio's commitment to exploring the intersection of technology and design is further exemplified by their recent project, where they installed a film studio inside one of Audi's high-speed driverless cars. This setup was designed to record passengers' reactions during the autonomous, high-speed journey, showcasing their interest in innovative applications of robotics and digital control in various fields, from art and design to industrial production and entertainment. #RoboticArms #CustomFurniture #KramWeisshaar #RobochopInstallation #3DPrinting #InteractiveDesign #DigitalFabrication #CEBIT2015 #ProductDesign

The article introduces Bengt Thornefors, the creative director of Sahco, a nearly 200-year-old textile brand, and his innovative approach to integrating fashion and interior design. Thornefors, known for his work in the fashion industry with brands like Acne Studios and Saint Laurent, was appointed to his current role in 2022. His background includes co-founding the bedware brand Magniberg, which, like Sahco, is now under the ownership of Kvadrat. This experience has equipped him with extensive expertise in fashion, which he now applies to the realm of textiles. Thornefors's appointment by Kvadrat's CEO, Anders Byriel, reflects a desire to inject fresh perspectives into Sahco, moving beyond traditional textile manufacturing to embrace broader cultural and artistic influences. Thornefors views interiors as having a special appeal, and his ability to navigate both fashion and interior design was a key factor in his selection. He aims to explore the interplay between historical textile traditions and contemporary design, creating collections that embody the essence of a true textile maison. For Sahco's inaugural press presentation at Kvadrat's New York City headquarters, Thornefors adopted an unconventional approach. He transformed the space into a white-box gallery, showcasing fabrics tailored into garment bags and hung on rolling racks, reminiscent of a fashion show. These textile displays were artfully combined with fine art photographs and furnishings from the esteemed Swedish institution Svenskt Tenn, demonstrating a fusion of art, fashion, and home decor. This presentation strategy was a deliberate effort to blur the boundaries between different creative disciplines, emphasizing the emotional and artistic value of textiles rather than just their functional aspects. The reception to Thornefors's innovative presentation was highly positive, even from discerning figures like Jonathan Olivares, the architect of the presentation space. His new collections for Sahco are characterized by a blend of heritage sensibilities, retaining Sahco's traditional decorative florals, with a contemporary Scandinavian aesthetic. Thornefors highlights examples such as lime-green embroidery on a jet-black background, which illustrates his modern interpretation of classic motifs. This design philosophy underscores his belief that Sahco sells more than just fabric; it sells emotions, aiming to evoke feelings and experiences through its products. The article concludes by noting that this story originally appeared in the September 2023 issue of ELLE DECOR, emphasizing its relevance and timeliness within the design world. #TextileDesign #InteriorDesign #FashionInfluence #BengtThornefors #Sahco #Kvadrat #HomeDecor #ScandinavianDesign #CreativeDirection