Design at the White House: the creatives working with US Presidents past and present

The White House, America's most recognizable residence, has undergone numerous transformations throughout its history, reflecting the changing tastes and needs of its presidential inhabitants. From its initial construction to modern-day modifications, each renovation has left a distinct mark on the iconic building. The process of building the White House began in 1789, culminating in 1800 when President John Adams became its first resident. The original structure, designed by James Hoban, was a classically inspired building that laid the foundation for its enduring architectural style. However, its early existence was brief; in 1814, during the War of 1812, British soldiers burned the White House. Reconstruction efforts, again led by Hoban, completed in 1817, and further additions like the South and North Porticos followed in the 1820s. Over the decades, presidents have initiated various projects to personalize or modernize the residence. In 1881, President Chester Arthur introduced a distinct Victorian flair, including a prominent Louis Comfort Tiffany screen and gilded tracery, while simultaneously auctioning off existing furnishings. This Victorian influence was later removed in 1902 during Theodore Roosevelt's classical renovation, which also saw the significant addition of the West Wing, transforming the White House into a more cohesive and modern administrative center. In 1942, under Franklin Delano Roosevelt, the East Wing was added, primarily to conceal an underground bunker known as the Presidential Emergency Operations Center, and has since served as office space for the First Lady and her staff. A major structural overhaul became necessary between 1948 and 1952 during the Truman administration, as engineers found the building to be structurally unsound. This extensive renovation involved dismantling and rebuilding much of the interior, forcing the presidential family to reside elsewhere. This effort ensured the physical integrity of the White House as it stands today. A decade later, in 1961, First Lady Jacqueline Kennedy embarked on a celebrated redecoration project. Collaborating with experts like Sister Parish and Stéphane Boudin, she focused on restoring the White House with historic American art and artifacts, aiming to showcase the nation's presidential history rather than merely redecorate. Her efforts were widely acclaimed, culminating in a televised tour that earned her an honorary Emmy. Subsequent administrations continued to introduce changes. In 1979, the Carter administration demonstrated an early commitment to sustainability by installing the White House's first computer and water-heating solar panels, though the panels were later removed and reinstalled by different administrations. More recently, the Obama administration undertook a redesign of the Oval Office in 2013, guided by AD100 designer Michael S. Smith, introducing a mix of historic and contemporary elements. In 2017, the Trump administration initiated a significant $3.4 million overhaul of the Oval Office, HVAC and IT systems, the West Wing lobby, and the South Portico steps, which included new furniture, wallpaper, carpeting, and gold-hued upholstery. The proposed additions in 2025 by President Trump included a new ballroom and modifications to the Rose Garden. The Rose Garden, originally designed by Rachel “Bunny” Lambert Mellon, saw its central lawn replaced with stone pavers, aiming to create a patio-like space. The more substantial plan involved a $200 million, 90,000-square-foot ballroom designed by classicist architect James McCrery II, intended to expand seating capacity significantly. This project, which required partial demolition of the East Wing, generated concerns among architectural historians and professional organizations like the Society of Architectural Historians and the American Institute of Architects, who advocated for a rigorous design and review process for such a monumental alteration to a historic building. #WhiteHouse #PresidentialResidences #ArchitecturalHistory #RenovationTimeline #AmericanHistory #InteriorDesign #HistoricalPreservation #GovernmentBuildings #ArchitecturalChanges

Ken Blasingame, an interior designer from Texas, was selected by President George W. Bush and First Lady Laura Bush to decorate the first family's residence in the White House. This appointment followed a long-standing professional relationship, as Blasingame had previously worked on their Dallas home and the Texas Governor's Mansion since 1989. The designer described the opportunity as surreal and filled with "pinch me" moments, marking a significant career highlight. His work commenced in 2002, shortly after the presidential inauguration. A key aspect of his role involved accessing a vast, undisclosed warehouse containing historic American furnishings. This collection included items like pieces purchased by Harry S. Truman for White House renovations and an American highboy chest previously used by Presidents John F. Kennedy and Lyndon B. Johnson. Blasingame, who studied art and developed an early affinity for design and Spanish Colonial antiques, founded Blasingame Design in 1976. His calm demeanor and ability to blend various eras and origins in his designs made him well-suited for the Executive Mansion. He shared a painterly design approach with Laura Bush, who desired the residence to be both appropriate for a national leader and comfortable for guests and family. Blasingame's contributions extended beyond temporary decor. President Bush appointed him to the Committee for the Preservation of the White House, where he served from 2002 to 2008. During this period, he made more permanent additions to the White House's interior. For the 100th anniversary of the West Wing, the White House Historical Association commissioned him to design a new Cabinet Room rug, replacing an older one from the Johnson era. His design incorporated stars, a laurel-leaf border, and other classical elements. Additionally, Blasingame designed a rug for the Diplomatic Reception Room, inspired by gold rays on a china pattern owned by George Washington. This room is noted as the most frequently used entrance in the mansion. Many of his upholstered pieces and newly selected items, chosen in collaboration with Laura Bush, have become part of the White House’s permanent collection. These items are expected to remain in place despite changes in presidential administrations. Interestingly, Blasingame's design process is characterized by spontaneity, with a notable absence of architectural drawings or extensive paperwork. He humorously mentioned that he refuses to do renderings and works with very few notes, preferring a more intuitive approach. Despite this unconventional method, his work has left a lasting legacy on one of the United States' most iconic buildings, contributing to its historical and aesthetic continuity. #InteriorDesign #WhiteHouse #KenBlasingame #PresidentialHistory #LauraBush #GeorgeWBush #AmericanFurnishings #HistoricalPreservation #DesignLegacy

The White House Rose Garden, a historical landmark and symbol of presidential administrations, has undergone a significant transformation under President Trump. This redesign has sparked considerable discussion among White House nostalgists and gardeners, particularly regarding the decision to replace the iconic grassy expanse with pale stone. The garden's history dates back to 1962 when Rachel “Bunny” Mellon, commissioned by President John F. Kennedy and guided by First Lady Jacqueline Kennedy, undertook a sweeping redesign. Mellon's vision was not merely for aesthetic appeal but also for functionality. President Kennedy, recognizing the emerging importance of television, sought an outdoor space suitable for televised press conferences and official events. Mellon responded by widening the central step from the lawn to the Oval Office, creating an outdoor platform for addresses. She meticulously arranged hedges in a diamond formation and introduced crabapple trees for seasonal visual interest, while preserving a spacious, uninterrupted grassy area for staging diplomatic events and pageantry. Over the decades, the Rose Garden has served as a backdrop for numerous historical moments, from Tricia Nixon's wedding in 1971 to the 1994 peace agreement between Jordan and Israel facilitated by Bill Clinton. Each administration has left its subtle imprint; for instance, President Reagan introduced different roses, George H.W. Bush added paving for accessibility, and the Obamas established a kitchen garden nearby. In 2020, First Lady Melania Trump also oversaw a redesign, opting for a more muted and symmetrical layout, which proponents argued aligned with Mellon's original intent, while critics noted its stark contrast to the garden's previous colorful appearance. The current changes, however, are described as the most dramatic yet. President Trump explained that the decision to replace the grass with stone was driven by practical considerations, specifically to make the space more suitable for events, addressing issues of wet ground and difficulties for individuals wearing high heels. He indicated that the roses would remain, but the grass would be replaced by “gorgeous stone.” While the White House has not issued formal press releases regarding the renovation, photo documentation reveals the progression of the work, from bulldozers on the lawn to the laying of stone tiles in a diamond pattern. This redesign, reportedly overseen by the National Park Service and funded by the Trust for the National Mall, is said to reflect Trump’s preference for the aesthetic of his Mar-a-Lago estate. The transformation of the Rose Garden is consistent with broader aesthetic alterations made throughout the White House during his presidency, which have included the introduction of opulent elements such as gilt cherubs, Rococo mirrors, and theatrical medallions, and even the display of a framed mugshot. While gardens are inherently dynamic and subject to change, the conversion of the Rose Garden's lawn to stone represents a significant departure from its established character and functional heritage, prompting reflection on the enduring symbolism of this historic space. #WhiteHouseRoseGarden #GardenRedesign #PresidentialHistory #LandscapeArchitecture #WhiteHouse #PresidentialGardens #PoliticalSymbolism #DonaldTrump #JackieKennedy

The second installment of the ‘White House Style’ webinar series, titled “Department of the Interior- Designing the White House,” featured Los Angeles-based interior designer Michael Smith. Smith, a recipient of the 2018 Arthur Ross Award for Excellence in design, discussed his experiences working with the Obama administration. Former First Lady Michelle Obama praised Smith's ability to blend historical elements with contemporary design, creating spaces that feel welcoming and comfortable. Smith began his career at 23, working for prominent individuals, which he considers a significant stepping stone. His work with the Obama family focused on crafting a residence that reflected their personality and the diverse spirit of America. During the webinar, Smith emphasized the importance of considering the origins and narratives behind each design element within the White House. He highlighted how the design choices aimed to tell a story that connects to American culture and history. Smith noted that Michelle Obama's creative and radiant personality influenced the warm and inviting ambiance he sought to achieve in the White House's rooms. He views the White House as a space representative of all Americans, and his design philosophy incorporates diverse ideas to foster an inclusive environment. His approach is deeply personal, aiming to create rooms that are not only aesthetically pleasing but also uniquely tailored to the occupants, integrating their stories with those of past leaders. The event concluded with a question-and-answer session involving students and faculty from the O’More College of Design. Smith shared insights into his favorite design makeovers and acknowledged his mentors in England for helping him develop his distinctive style. He advised aspiring designers to explore the history of the world through the lens of art and decor as they cultivate their individual craft and aesthetic. Smith also took the opportunity to stress the importance of civic engagement, urging attendees to vote, characterizing it as both a privilege and a duty essential for the country's effective functioning and preservation. The full 'White House Style' series is available on the Belmont Debate 2020 website. #InteriorDesign #MichaelSmith #WhiteHouseStyle #MichelleObama #DesignElements #ArthurRossAwards #ObamaAdministration #OMoreCollegeOfDesign #DesignPhilosophy

Following Donald Trump's inauguration, the Oval Office underwent a redesign, with social media users quickly identifying various changes. A prominent feature of this redesign was the alleged use of gold-painted Home Depot moldings, which sparked widespread discussion and commentary across online platforms. The internet's reaction highlighted the perceived shift in aesthetic from previous administrations, particularly contrasting with the more traditional and subdued decor often associated with the office. Many observers noted the stylistic choices as reflective of Trump's personal brand and design preferences, which typically favor opulent and gilded aesthetics. The pictorial diary format of the article likely showcased a series of images, contrasting the newly decorated Oval Office with its appearance under previous presidents. These visual comparisons would have fueled the online debate, allowing for direct side-by-side analysis of the design elements. The focus on specific details, such as the moldings, indicates a keen public interest in the minutiae of presidential residences and workspaces, especially when they undergo significant alterations. The use of 'Home Depot' in particular suggested a blend of high-end aspirations with more accessible, perhaps even DIY, components, which further engaged internet commentators. Beyond the moldings, other elements of the redecoration would have been scrutinized. This could include changes to draperies, rugs, furniture, and art, all contributing to the overall atmosphere of the iconic office. The internet's immediate and detailed analysis underscores the power of social media in disseminating information and shaping public perception, even on seemingly trivial matters of interior design. This rapid assessment often involves crowdsourced identification of items and styles, as individuals contribute their observations and expertise. The article, through its 'pictorial diary' approach, would have served as a visual record of these changes, allowing readers to form their own opinions on the aesthetic choices made. Such a format often enables a more engaging and interactive experience for the audience, inviting them to participate in the observation and critique. The commentary surrounding the gold-painted moldings from a mainstream hardware store also touches on broader themes of perceived luxury versus practicality, and how these perceptions manifest in public spaces, particularly those with significant symbolic weight like the Oval Office. Ultimately, the discussion around the Oval Office's redecoration, particularly the 'gold-painted Home Depot moldings,' became a microcosm of larger conversations about the new administration's style and approach. It offered a seemingly lighthearted entry point into political commentary, using design choices as a lens through which to view broader changes. The internet's collective eye for detail and its penchant for rapid, often humorous, analysis ensured that these decorative alterations did not go unnoticed, transforming a simple redecoration into a widely discussed cultural moment. #OvalOfficeRedo #DonaldTrump #HomeDepot #InteriorDesign #PresidentialDecor #SocialMediaReaction #PoliticalSatire #DesignCriticism

The article explores the comparison between Donald Trump's opulent interior design style and that of Louis XIV, particularly in light of the changes observed in the Oval Office following Trump's inauguration. New yellow-gold swagged curtains and a sunburst rug replaced the striped crimson curtains and a quote-adorned rug from the Obama administration, prompting observations about Trump's consistent preference for a gilded aesthetic. This style is evident in his Manhattan penthouse, which has been likened by some, including satirical blogger Kate Wagner, to Louis XIV's Palace of Versailles. While a superficial comparison between Trump's penthouse, with its marble, gilt capitals, fountains, and painted ceilings, and Versailles holds some weight, a deeper analysis by decorative arts historians reveals distinctions. The article notes that Trump's apartment's design, though inspired by French grand manner, features proportions that are inconsistent with the elegance of Bourbon royal palaces. For instance, the columns are described as wide and squat, the entablature too narrow, and the cornice disproportionately wide. The gilt Louis XV-inspired armchairs in the penthouse are also noted for lacking the sinuous appeal of their 18th-century predecessors. These proportional inaccuracies would have been considered poor taste during the reigns of Louis XIV and Louis XV. The influence of French grand manner, however, is not unique to Trump. The article cites historical examples such as Bavarian King Ludwig II, who, obsessed with old-regime France, built a replica of Versailles' Hall of Mirrors at Schloss Herrenchiemsee. Similarly, late 19th-century American robber barons, including Alva Vanderbilt, adopted French decorative arts, importing 18th-century boiseries to adorn their mansions. These historical instances, much like Trump's aesthetic, served to showcase new wealth through a stately French style, albeit with varying degrees of authentic historical adherence. The article also delves into the political implications of Trump's interior design choices. Critics often interpret his ostentatious taste as indicative of despotic tendencies, drawing parallels between the grandeur of French royal palaces and the causes of the 1789 French Revolution. However, scholars of Louis XIV's era offer an alternative perspective, highlighting Jean-Baptiste Colbert's efforts to stimulate the French economy by promoting luxury industries. Versailles, in this context, served as a lavish showcase for French-made luxury goods, a strategy that contributed to Paris's enduring reputation as a fashion capital and the continued global imitation of French decorative arts. Ultimately, the article suggests that Trump's call for a protectionist economy, as articulated in his election campaign and inauguration speech, offers a more profound comparison to Louis XIV's policies than his interior design choices alone. If Trump indeed draws inspiration from the Sun King, the article advises him to look towards contemporary artists and designers to establish a leading position in matters of style. #InteriorDesign #DonaldTrump #LouisXIV #Versailles #OvalOffice #ArchitecturalStyle #GildedAge #FrenchDecorativeArts #Protectionism

This article highlights 25 influential power duos comprising high-end clientele and their style gurus who collaborate to curate spectacular interiors, ranging from private homes and palaces to public monuments and retail spaces. These partnerships are notable for their impact on the design world, setting high standards for aesthetics and functionality. The article details various collaborations, showcasing the diverse styles and approaches employed by these design teams. One prominent duo features hip-hop superstar Kanye West and Belgian designer Axel Vervoordt. Vervoordt, known for his tasteful minimalism and admiration for the Japanese aesthetic concept of wabi (exalting simplicity), was enlisted by West to perfect his Los Angeles crib's look. Vervoordt's client list also includes Bill Gates, Sting, and Calvin Klein, underscoring his reputation in high-end design. Actress Gwyneth Paltrow partnered with Robin Standefer and Stephen Alesch of Roman and Williams for the Goop Lab in Brentwood, her first permanent store. Roman and Williams, named for their grandfathers, also opened the Guild, a showroom and café in Soho, indicating their expanding influence in the design and lifestyle sectors. Fashion mogul Tom Ford and William Sofield, an inseparable pair for 25 years, have redefined luxury retail spaces. Their collaborations on stores in Madison Avenue and Rodeo Drive are renowned for their opulent design, challenging conventional retail aesthetics. Sarah Jessica Parker initially sought decorating tips from movie executive Eric Hughes in the '90s. His design career officially launched in 2002 after Parker commissioned him to design her Bridgehampton home. Hughes is currently working with architect Morris Adjmi to merge Parker's two West Village townhouses, demonstrating a long-standing and evolving client-designer relationship. The Beckhams, Victoria and David, chose antiques dealer Rose Uniacke to decorate their $44 million Holland Park palace in London. Uniacke is celebrated for her ability to modernize historical settings, creating a unique blend of classic and contemporary design. Lauren Santo Domingo, co-founder of Moda Operandi, continued a family tradition by enlisting French designer Francois Catroux to work on her 18th-century Paris apartment. Catroux has a history with the Santo Domingo family, having worked with them since the early '90s. LVMH CEO Bernard Arnault consistently collaborates with architect Peter Marino, who has designed numerous Louis Vuitton stores, including the flagship on Place Vendôme, showcasing Marino's significant role in shaping the luxury brand's physical presence. Actor Brad Pitt engaged starchitect David Adjaye for sustainable housing projects in New Orleans following Hurricane Katrina. Pitt's Make It Right Foundation, with Adjaye's involvement, constructed over 100 homes in the Lower 9th Ward, highlighting a commitment to socially conscious design. Adjaye later gained acclaim for his work on the National Museum of African American History and Culture. Raf Simons, during his tenure at Calvin Klein, relied on artist Sterling Ruby to infuse the brand's shows, headquarters, and flagship store with distinctive, vibrant energy. This partnership highlights the intersection of art and fashion in design. Collectors Edythe and Eli Broad have a long-standing relationship with Pritzker Prize winner Frank Gehry, commissioning him for their Brentwood manor and the Walt Disney Concert Hall in Los Angeles. Their collaborations underscore their patronage of groundbreaking architecture. French luxury boss Francois-Henry Pinault entrusted Parisian designer Pierre Yovanovitch with his personal office and the Hôtel de Clermont-Tonnerre, the headquarters of his Artémis conglomerate. Yovanovitch is known for incorporating vintage touches into contemporary settings. Former Vice President Joe Biden and his wife Jill selected Victoria Hagan, known as the “queen of restrained elegance,” to design their official private residence. Hagan's clean, timeless interiors aligned with the Bidens' aesthetic preferences. Designer Robert Couturier, celebrated for French-inspired exuberance, is collaborating with artist Jeff Koons to combine two Upper East Side townhouses. This partnership merges Couturier's classic style with Koons's grand artistic vision. John Pawson and Ian Schrager have a two-decade-long friendship and professional collaboration, extending from apartments at the Gramercy Park Hotel to Schrager's penthouse at 40 Bond, and now the West Hollywood Edition hotel. Their work emphasizes minimalist yet luxurious design. Tory Burch first met designer Daniel Romualdez in the late '90s and subsequently hired him for her apartment at the Pierre, followed by numerous homes and over 100 stores, including her Long Island location, showcasing a long and fruitful design partnership. Fashion designer Alexander Wang and Ryan Korban are close friends who collaborate on various projects, including Wang's flagship store and private residences, highlighting a youthful and contemporary approach to design. Ken Fulk, known for his flamboyant designs, is the trusted designer for Silicon Valley's elite, including Instagram's Kevin Systrom. Fulk designed Systrom's home and his wedding, demonstrating his versatility in creating bespoke experiences. Jamie Drake, known for his crisp and colorful rooms, has designed multiple properties for Michael Bloomberg, including his Upper East Side townhouse and his Georgian estate in Southampton, and also restored Gracie Mansion during Bloomberg's mayoral term. Michael Smith decorated the private residence of the Obamas in the White House, earning praise from former First Lady Michelle Obama for upholding the building's history. Smith also designed their 8,200-square-foot Kalorama home after their departure from office. The bond between decorator Stephen Shadley and Oscar winner Diane Keaton spans over 30 years and four homes. Keaton even documented their creation of her 8,000-square-foot Brentwood compound in her book, "The House that Pinterest Built," illustrating a deep, enduring creative partnership. #DesignDuos #InteriorDesign #LuxuryHomes #ArchitecturalPartnerships #CelebrityDesign #HomeDecor #HighEndClientele #ResidentialDesign #CommercialDesign

President Donald Trump's redecoration of the Oval Office has garnered significant attention, largely due to his extensive use of gold accents. This "Midas touch," as some describe it, involves a range of gilded elements, including ornamental moldings on the fireplace mantel, wainscoting, and crown molding, as well as golden tables, gilded portrait frames, and a glammed-up presidential seal. Even golden cherubs are part of the new aesthetic. Trump himself has described these additions as being handled with "great love and 24 karat gold," and The Wall Street Journal reported that a South Florida cabinetmaker, whom Trump refers to as his "gold guy," custom-made the elaborate finishes at the President's request. However, this narrative has been met with skepticism from some social media users, who theorize that the opulent decor might actually consist of inexpensive millwork appliqués from Home Depot, merely covered in spray paint. This raises questions about the true origin and cost of the White House's new gold embellishments. The debate reflects a broader difficulty in discerning truth in contemporary public discourse, particularly when conflicting claims arise about prominent figures or institutions. Investigative reporting by Inside Edition delved into these theories, specifically exploring whether the Home Depot rumor held any weight and how individuals might replicate a similar look using supplies from the popular home improvement store. A TikToker's viral video presented a compelling argument that specific elements, such as the fireplace millwork and cherubs, are polyurethane pieces manufactured by Ekena Millworks, a brand widely available at Home Depot. This claim suggested that parts of the White House's decor could be sourced from a common retail outlet, challenging the perception of custom, high-end craftsmanship. BuzzFeed followed up on these allegations by contacting Ekena Millworks for their perspective. The company responded by stating, "We work with several design firms in DC that have worked on the White House and believe these could be our onlays." This statement, while not a direct confirmation, lends credibility to the idea that their products might have been used. Furthermore, the White House had previously announced its collaboration with McCrery Architects, a Washington, D.C.-based firm, for a new ballroom project, which could indirectly support the possibility of D.C.-based design firms utilizing various suppliers. Ekena Millworks also highlights its reputation for producing high-quality carvings, noting that clients like Disney trust their products for complex projects. The implication is that if their inexpensive polyurethane and wood moldings are suitable for the rigorous demands of Disney theme parks, they would likely be durable enough for the White House. Regardless of whether the gold decor was custom-made by Trump's designated artisan or purchased from a retail chain, the article suggests that DIY enthusiasts interested in achieving a similar gilded look can do so using readily available products like Rust-Oleum Universal Surface Metallic or Krylon Gold Spray Paint, which are popular among DIYers for their effectiveness in creating a metallic finish. #WhiteHouseDecor #GoldDecor #OvalOffice #HomeDepotRumor #TrumpAdministration #InteriorDesign #DIYDecor #EkenaMillworks

The article explores how contemporary American design reinterprets classic design movements and iconic objects, drawing inspiration from the past while infusing modern sensibilities. It examines several key historical design traditions and their enduring influence on present-day creations, illustrating how principles like utility, craftsmanship, and cultural context continue to shape new aesthetics. One significant influence is Shaker furniture, which emerged in the first half of the 19th century from communal, utopian societies. Shaker design is characterized by its rigorous American minimalism, emphasizing utility and efficiency. Sheila Edwards, a professor of furniture design, highlights the Shaker precept that "beauty rests on utility," leading to design choices such as reduced embellishment, wood knobs, and thin or tapered elements. Alexandra Cunningham Cameron, curator of contemporary design at Cooper-Hewitt, Smithsonian Design Museum, notes that Shaker style is tied to a complete philosophy of living that seeks spiritual, aesthetic, environmental, and cultural redemption. Its appeal lies in the dichotomy of its light appearance and authentic craftsmanship, particularly resonating with American audiences seeking meticulous historical models. Another enduring American design tradition is patchwork, particularly the improvisational quilting techniques developed by enslaved women of Gee’s Bend in Alabama during the 19th century. This craft prefigured movements like Abstract Expressionism and Op art. Lauren Cross, associate curator of American Decorative Arts, explains that this piecing together of fabric stemmed from economic necessity in a developing country, making it a distinctly American invention. Today, designers and artists continue to draw inspiration from Gee’s Bend, celebrating the community’s resilience and the artistic freedom demonstrated through this craft. The article also delves into Teco Ceramics, an early 20th-century pottery factory in Illinois founded by William D. Gates. Gates branded terra-cotta as "Teco" and produced hundreds of art pottery vases and vessels, famously in a matte green hue. Teco embraced Art Deco ornamentation, incorporating stylized handles and floral flourishes, challenging the notion that form should strictly follow function. It also embodied an "American maxim" of "bigger is better," manufacturing impressively large vases. Contemporary designers are now rediscovering Teco’s verdant tones, expanding color palettes, and injecting whimsy into geometric designs, though typically on a smaller, handcrafted scale. Finally, the evolution of the office chair is discussed, beginning with Frank Lloyd Wright's early, somewhat problematic designs and progressing through Charles and Ray Eames’s aluminum icons and Bill Stumpf and Don Chadwick’s Aeron chair for Herman Miller. Initially, office chairs aimed to signify authority and later, efficiency. Cunningham Cameron points out that Eames chairs were a product of experimentation with new, affordable materials, intending to reshape corporate culture. As work environments have shifted towards home offices and hybrid models, the design of office chairs has adapted, moving beyond mere ergonomics to incorporate aesthetic appeal suitable for domestic settings. The article concludes by noting that while older designs like the Eames chairs are ubiquitous, there is a push for more innovative and visually appealing options to draw workers back into traditional office spaces. #AmericanDesign #DesignHistory #ShakerFurniture #PatchworkQuilts #TecoCeramics #TiffanyGlass #OfficeChairDesign #ModernDesign #DesignEvolution

Design Miami/ Basel returned for its 13th edition, showcasing a diverse collection of new creative projects, iconic designs, and conceptual interpretations within the design genre. The event, held in the Herzog & de Meuron-designed fairgrounds, featured 43 international galleries representing modern and contemporary design, alongside ten special Curio presentations and large-scale installations, marking a significant celebration of both culture and commerce. This overview highlights several key installations and collections that captured attention. One notable presentation was the ‘(Con)temporary Home’ by Brazilian brand ETEL, designed by Italian architecture firm Superluna. This Collectors Lounge was conceptualized as a domestic environment, enclosed within a steel frame that subtly separated it from the fair's activity. The interior featured a curated mix of contemporary and historical Brazilian design pieces, complemented by photographs from Ruy Teixeira. A significant portion of the furniture offered to guests for relaxation, accompanied by champagne, included pieces by Jorge Zalszupin, honoring the Brazilian master on his 96th birthday. New York gallery Friedman Benda presented Nendo’s 'Watercolour Collection,' a series of 18 pieces designed to evoke the illusion of watercolor paintings on paper. Crafted from folded metal sheets, these objects utilized a special finishing technique to mimic paper, then hand-painted to create a light blue watercolor effect. The collection reimagined traditional furniture forms into abstract compositions, with the paint interacting with the shapes to produce a poetic, illusory quality. Belgian gallery Maniera collaborated with Dutch architect Anne Holtrop to present new works, including furniture, lighting, and accessories. These pieces formed micro-architectures that reflected Holtrop's distinct aesthetic, characterized by his unique sense of shape and material. Maniera's ongoing commitment involves commissioning architects to translate their signature styles into smaller-scale design objects. Design at Large, the annual initiative by Design Miami/ Basel, was curated by photographer François Halard in 2018. Halard explored the enduring impact of design through a series of nine diverse projects from the 20th and 21st centuries. The exhibition featured architectural elements by Jean Prouvé, interiors by Gaetano Pesce for the Dujardin children’s store, and a micro-architecture by RDAI. Halard's curatorial vision aimed to connect past influences with present and future design trends, emphasizing the continuity of ideas in art and design. ‘A New Layer Taiwan,’ presented by Spazio Nobile Gallery, showcased an initiative by the National Taiwanese Craft Research and Development Institute. This project fostered collaborations between Taiwanese craftsmen and international designers. Curator Lise Coirier brought together seven designers who worked with local artisans to produce a range of pieces, including ceramic works by Anton Alvarez and BCXSY, bamboo furniture by Sebastian Herkner and Jin Kuramoto, and lacquer objects by Julie Richoz and Wonmin Park. Olivier van Herpt, an Eindhoven graduate, presented 'Blue and White' for VIVID. This collection highlighted his unique ceramic 3D printing technique, which creates a distinct aesthetic. The series drew inspiration from the Delft tradition of blue porcelain, with cobalt pigment applied by hand before extrusion, resulting in a radial gradient pattern that symbolizes the collaboration between human interaction and machine precision. This project was initially commissioned by the Gemeentemuseum Den Haag. Calvin Klein made its debut at Design Miami/ Basel with an installation featuring Gaetano Pesce’s 'Feltri' chair, designed in 1987 for Cassina. The installation, inspired by a barn, was reinterpreted by creative director Raf Simons using vintage American heirloom quilts from the 19th and 20th centuries. It showcased 100 limited edition numbered chairs, marking a unique cross-disciplinary presentation. Lastly, 'Origins: Design from the Ancient World' was presented by Galerie Chenel and Oscar Humphries. Following his successful Curio installation from the previous year, Humphries, in collaboration with Paris’ Galerie Chenel, displayed Roman design for the first time at a design fair. The collection featured Greco-Roman artifacts, design, and architectural elements from 200 BC to approximately 200 AD, including columns, capitals, urns, and fragmentary sections from interiors and furniture. This exhibition aimed to introduce this material to a new audience and provide a fresh context, demonstrating the fundamental synergy and enduring influence of ancient design on contemporary genres. #DesignMiamiBasel #CollectibleDesign #ContemporaryDesign #DesignExhibition #ArchitecturalDesign #FurnitureDesign #ArtAndDesign #InteriorDesign #Craftsmanship

The National Gallery of Art initiated a significant digitization project in 2013, focusing on its extensive collection of approximately 18,000 watercolors from the Index of American Design. This index, established in 1935 as a component of the Federal Art Project under the Works Progress Administration, operated for six years, employing around 1,000 artists. Their primary task was to create visual records of American design items, spanning from the colonial period through the 19th century. The core objective of the project was dual-natured: to foster the creation of new art while simultaneously documenting historical design. Each watercolor functions as a distinct artistic piece, attributed to a specific artist, yet it also serves as a meticulous record of the often-anonymous design and craftsmanship of earlier periods. The artists frequently worked directly from the original objects, allowing them to capture an extraordinary level of detail through the delicate medium of watercolor. The collection's recently added images showcase a diverse range of objects, from a peacock feather fan to various architectural ironwork ornaments. The watercolor paintings by Gilbert Sackerman, particularly those depicting cast and ornamental iron, stand out for their aesthetic appeal. Sackerman's artistic approach is evident in his use of color and shadow to bring specific elements of each image to the forefront, while backgrounds are typically rendered in subdued beige tones. Unlike many paintings in the index that present small objects against plain white surfaces, Sackerman's works convey a sense of broader environmental context. These pieces offer an idealized and charming depiction of a well-kept America, a portrayal that stands in stark contrast to the harsh realities of the Great Depression, the period during which these artworks were created. The Index of American Design represents a significant historical effort to preserve and document the material culture of the United States. It highlights the artistry and skill of both the original designers and craftsmen of the depicted objects, as well as the artists who meticulously rendered them in watercolor. The digitization initiative by the National Gallery of Art ensures that these valuable historical and artistic records are accessible to a wider audience, offering insights into American design, art, and the socio-economic context of the 1930s. #AmericanDesign #WatercolorArt #NationalGalleryOfArt #IndexOfAmericanDesign #FederalArtProject #WorksProgressAdministration #HistoricalArt #MaterialCulture #DepressionEra

This article offers a virtual tour of seven remarkable objects from the Cooper Hewitt, Smithsonian Design Museum, providing a "Museum Moment of Zen" during its temporary closure. The selected items showcase a diverse range of design periods, materials, and cultural influences, highlighting the museum's extensive collection. Each object is presented with detailed descriptive text, often including its historical context, designer, materials, and any notable characteristics. The featured items begin with a "Leopards lounge and explore" wallpaper from the late 1960s, produced by Philip Graf Wallpapers Inc. This piece, likely intended for a young girl's room or a powder room, features glamorous magenta felines. Next is the "Kinetics" mural design from James Seeman's 1971 Kaleidoscope collection, which may have been inspired by the emerging barcode technology and received multiple awards. The article then presents a fantastical glass birdcage designed by Charles Lin Tissot in 1959. Created in collaboration with Venetian glassworkers, this fully functional birdcage incorporates ancient artistic techniques with modern twists, featuring sliding doors, perches, swings, and a feeding bowl. Further into the virtual exhibition, the article showcases 19th-century French architectural staircase models crafted by the compagnons, a guild of traveling craftsmen. These walnut and beechwood models represent the masterworks produced by apprentices after years of study during their "tour de France." The Compagnonnage system, dating back to the Middle Ages, continues to be active in France today, now including women. A more contemporary piece is the "Rainbow Sprinkle Drum" stool from 2017, designed by Fernando Mastrangelo, which is decorated with real rainbow sprinkles coated in resin for durability. The tour continues with a pattern from the "Casa Hermosa" collection of wall coverings and coordinated fabrics, which debuted in 1995. This collection, a collaboration between artist Nancy Glenn-Nieto and designer Marcie Vesel Bronkar, draws inspiration from Nieto's Mexican heritage and pre-Columbian art. Another textile design, titled "Four Seasons," was created by Luba Krejci in 1964, reflecting her efforts to revitalize lace-making traditions in Czechoslovakia. Finally, the article presents photographs by Thérèse Bonney, an American journalist who documented Parisian architecture and design from 1925 to 1935. Her collection, featuring everything from trompe l'oeil storefronts to stylish furnishings, includes over 4,000 digitized images available through the Smithsonian Libraries, offering a historical perspective on design. Each description emphasizes the uniqueness and design significance of the object, providing a glimpse into the museum's diverse holdings and the stories behind them. The collection covers various design disciplines, from interior decor and architecture to furniture and textiles, highlighting the breadth of creativity and craftsmanship preserved at the Cooper Hewitt. #DesignDestinations #CooperHewittMuseum #VirtualTour #HistoricalDesign #InteriorDesign #TextileDesign #ArchitecturalModels #FurnitureDesign #DesignHistory

In 1967, fiber artist Sheila Hicks collaborated with architect Warren Platner to design two linen-and-silk wall panels for the Ford Foundation headquarters in New York City. Platner was responsible for the interiors of the 12-story modernist landmark, designed by Kevin Roche John Dinkeloo and Associates. Hicks's original wall panels, which featured rosettes threaded around metal discs, suffered significant damage over the years due to an attempted fire retardation treatment in the 1980s, the abrasion from Eames executive chairs in the conference room, and cigarette smoke in the auditorium. Recognizing the historical and artistic importance of these pieces, Ford Foundation President Darren Walker, appointed in 2013, initiated their replacement. He commissioned Hicks to recreate the murals. Hicks accepted the project without an artist's fee, underscoring her commitment to the foundation and her artwork. The re-installation took place in August 2014, with Hicks overseeing the process. This reprisal of her work for the Ford Foundation coincided with a broader resurgence of interest in Hicks's art, marked by other large-scale public commissions, including a yearlong exhibition at the Palais de Tokyo in Paris, and a general renewal of appreciation for weaving as an art form. The modern tapestry was produced in smaller, modular sections by Enrico Martignoni, the chief installer, and project leader Dominique Pastor. This modular approach was adopted to facilitate easier replacement if any section were to be damaged in the future. Crucially, the new silk-blend threads will not undergo the same caustic chemical fire-proofing treatment that damaged the original works. Additionally, the new panels are more cost-effective, utilizing a silk-blend thread and plastic discs in place of the original metal components. The article also touches upon the broader design elements of the Ford Foundation building. Warren Platner, known for his opulent modernist style, integrated bold metallics into his interiors, such as the gold-plated, floor-to-ceiling doors leading to the subterranean auditorium. The landscape designer Dan Kiley, celebrated for his work on projects like the Miller House and the St. Louis Arch, created the lush indoor urban garden within the Ford Foundation. Architects Kevin Roche and John Dinkeloo designed the headquarters with the employee in mind, reversing the traditional skyscraper layout to ensure every office had exterior views or overlooked the indoor park within the ten-story glass atrium. Skylights at the top of the atrium, framed in Cor-Ten steel, allow natural daylight to flood the space. Even the executive chairs, modified by Charles and Ray Eames, featured brown leather upholstery and brass accents to complement Platner's design, and notably, still included pull-out ashtrays. #SheilaHicks #FordFoundation #TextileArt #ModernistDesign #InteriorDesign #ArchitecturalRenovation #ArtInstallation #WarrenPlatner #KevinRocheJohnDinkeloo

This article provides a visual journey through American home interior design from 1940 to 2010, highlighting key trends and cultural shifts that influenced domestic aesthetics. Each year, from 1940 to 1959, is presented with an illustrative photograph and a brief description of the prevalent design styles, technological advancements, and socio-economic factors impacting home decor. Beginning in 1940, the impact of World War II is evident, with decor remaining static due to material shortages, featuring classic 1930s hallmarks like damask curtains. By 1941, Streamline Moderne furniture with its curved lines, inspired by aerodynamic design, began appearing. Radio was the primary form of home entertainment in 1942, found in over 80% of American homes, far more affordable than the newly invented televisions. The midcentury modern design movement started taking root in 1943, though its full flourishing awaited the post-war era. Art Deco and Art Nouveau continued to be popular in 1944, with geometric wall hangings and organic headboards. Kitchens in 1945 were compact but benefited from modern appliances. Floral patterns were popular in upholstery in 1946, though they would soon give way to more modern styles. The transition of the 1940s is underscored in 1947 with the appearance of a television set in an otherwise traditional living room. Chinoiserie, a 19th-century fad, made a strong comeback in the 1930s and persisted into 1948 as international travel and trade reopened. Patterned wallpaper, often with abstract designs, was widely used in bedrooms by 1949. The 1950s marked a new era with televisions becoming more popular by 1950, alongside rural-style decorations like gingham-upholstered chairs. The butterfly chair, a design from Argentina in 1938, exploded in popularity in the U.S. in 1951 after its design entered the public domain. Tropical motifs in interior design and fashion were trendy in 1952, with fringed armchairs from previous decades still present. Tiled fireplaces, reminiscent of Art Deco, and geometric-patterned wallpapers were fashionable in 1953. Open floor plans became a signature of midcentury modern homes in 1954. A classic 1950s look in 1955 included black-and-white checkered linoleum floors paired with country details like Shaker-style chairs. Kitchens expanded in size in 1956 to accommodate new appliances like dishwashers and garbage disposals. Pastel colors such as mint green and baby pink were popular in 1957, often accented with red. Truman Capote’s maximalist home in 1958, despite the growing trend towards minimalism, featured Chinoiserie, patterned wallpaper, and a red palette. By 1959, some living rooms maintained a basic furnishing style, focusing on colors characteristic of the decade.

This blog post honors eleven legendary interior designers who have passed away, recognizing their significant contributions to the field. Each designer is highlighted for their unique style and lasting impact on interior design. Amy Lau, a 'Next Wave' designer, was known for her warm and joyful interiors, and her expertise in midcentury modern style. Lau, who founded an eponymous design firm, utilized color and texture to create personalised spaces for her clients. She passed away in January 2025 at the age of 56 following a battle with cancer. Iris Apfel, a style icon, was also a prominent interior design trendsetter. In the 1940s, she decorated for notable figures such as Estée Lauder and Joan Rivers. Alongside her husband, she co-founded Old World Weavers, a luxury fabric company that supplied textiles to the White House under nine different presidents. Apfel passed away in 2024 at the age of 102 due to natural causes. Suzanne Rheinstein, known for her elegant yet comforting approach to classic interiors, was a self-proclaimed advocate for the limited palette. The Louisiana-born, Los Angeles-based designer operated her own firm and a beloved shop called Hollyhock for decades. She died in 2023 at 77 after a struggle with cancer. Mario Buatta, often referred to as the “Prince of Chintz,” was a favorite among maximalists for his bold use of patterns, tassels, ribbons, and various textures. He believed that a house should evolve organically over time. Buatta passed away in 2018 at 82 from complications arising from pneumonia. Kimberly Ward, the founder of the Black Interior Designers Network, began her career designing homes for NFL clients. In 2008, she initiated the “Top 20 African American Interior Designers” list on the blog Pink Eggshell. She established the Black Interior Designers Network in 2011 to promote and support Black designers. Ward died of cancer in 2017 at the age of 43. Albert Hadley, a co-founder of the renowned Parish-Hadley design firm, was a significant figure in American design, blending contemporary flair with traditional elements. He designed for high-profile clients including the Astor and Getty families, Albert Gore, and Jacqueline Kennedy Onassis. Hadley passed away from cancer in 2012 at 91. Mark Hampton’s work, influenced by English country style and classic interiors, maintained a distinctly American feel while catering to his clients' personal tastes. His extensive client list included three U.S. presidents, Brooke Astor, and Estée Lauder. Hampton died in 1998 at 58 from cardiac arrest caused by liver cancer. Dorothy “Sister” Parish, co-founder of Parish-Hadley, is particularly noted for her work on the White House for the Kennedys, collaborating with Jacqueline Kennedy. Her designs featured laid-back, airy interiors with understated elegance, characterized by specific color palettes, accents like wicker and ticking stripes, and a timeless aesthetic. She passed away in 1994 at 84 after a prolonged illness. Billy Baldwin, a highly influential American tastemaker, was celebrated for integrating high style with comfort in his designs. He created refined interiors with eclectic furnishings for socialites and creative personalities such as Cole Porter and Diana Vreeland. Baldwin died of a heart ailment in 1983 at 80. Dorothy Draper established what is considered the first interior design business in 1925. Her distinctive Regency-influenced style featured bold colors, striped walls, and black-and-white checkered floors, extending beyond residential projects to iconic hotels like the Carlyle in New York City and the Greenbrier in West Virginia. Draper, who earned a record fee of $4.2 million for her work at the Greenbrier, died in 1969 at 79 after suffering from Alzheimer’s disease. Elsie de Wolfe, recognized as America's first professional interior designer in the early 1900s, was commissioned to decorate homes before the term “interior designer” was even widely used. Her elegant spaces often incorporated bright, feminine color schemes and French-inspired furniture, attracting clients including Oscar Wilde and the Duke and Duchess of Windsor. De Wolfe passed away in 1950 at 84. #InteriorDesign #DesignLegends #AmyLau #IrisApfel #SuzanneRheinstein #MarioBuatta #KimberlyWard #AlbertHadley #MarkHampton #SisterParish #BillyBaldwin #DorothyDraper #ElsieDeWolfe

In 2013, interior designer Mary Laipple built a three-bedroom, 2 ½-bathroom home at 455 Wyola St. in the Sweetbriar Village development on Mount Washington, deliberately avoiding the then-popular farmhouse style characterized by white shaker cabinets and gray interiors. Instead, Laipple, in collaboration with Sweetbriar developer Jeff Paul of Pomo Development, aimed for an "industrial modern" aesthetic that conveyed a lived-in, welcoming atmosphere, eschewing the typical new construction feel. Her design choices were focused on creating a timeless style, which has since gained widespread popularity on social media. The home's distinctive design elements are evident from the moment one approaches, with a Craftsman-style front door framed in teal. Inside, high ceilings contribute to an expansive feel. The main living space, accessible via three steps, immediately showcases Laipple’s vision. The kitchen, a central feature, boasts custom Decora cabinets with taupe finishes, a professional-grade Jenn-Air appliance suite including wall ovens and a six-burner gas range, and black soapstone countertops. Laipple specifically chose soapstone for its aesthetic appeal and antimicrobial properties. A center island with a waterfall edge provides seating for four. The kitchen's walls are adorned with neutral-hued, handmade subway tiles, complemented by a bronze-rubbed statement hood and a basket-weave backsplash. Lighting in the kitchen and dining area is provided by lantern pendants over the island and dining table. A custom wall bar, designed for entertaining, includes seeded-glass front doors, wine storage, a sink, and a mini-refrigerator, strategically positioned near the patio to facilitate both indoor and outdoor gatherings. The outdoor space features a roof-covered deck, a grill, and a settee, which Laipple notes is frequently used. The living room features a stacked stone gas fireplace, uniquely accented with a vertical soapstone panel on one side, cleverly concealing media and technology components. The upper level of the home accommodates a custom primary bedroom suite, distinguished by a tray ceiling, ceiling fan, and a continuation of the wide-plank oak flooring seen downstairs. The primary bathroom is designed as a luxurious retreat, featuring a double-bowl vanity, porcelain-and-glass tile walls, a soaking tub, and a spacious glass-walled shower with a seat. This suite also includes a walk-in closet equipped with custom cabinet drawers, ample hanging space, and shoe storage. The two additional bedrooms on this level measure 11x11 square feet and 11x10 square feet, respectively. One serves as a guest bedroom, decorated in a soft green-gray, while the other is currently configured as an office in a soft heather pink hue. An additional bathroom in the hallway could be integrated into the guest bedroom to create a second en-suite. The upper level also includes a conveniently located laundry space and attic storage with pull-down access. The finished basement offers further functionality with a yoga studio and workout area, a half bathroom with the potential for conversion into a full bathroom, and three large closets. Laipple highlights the flexibility of this space, mentioning that previous owners have adapted it into a guest suite by combining the bathroom with the main room. The property also features a two-car integral garage. The Sweetbriar Village community provides a large common area and sidewalks, promoting a friendly environment suitable for dog walking and social interaction. Laipple emphasizes the convenience of the Mount Washington location and its diverse community. #HomeDesign #InteriorDesign #MountWashington #PittsburghRealEstate #TimelessStyle #CustomHome #KitchenDesign #PrimarySuite #ResidentialArchitecture

nCino, a rapidly growing financial services technology company based in Wilmington, has designed its global corporate headquarters with a strong focus on employee well-being and a commitment to local community and sustainability. The company, known for its recent IPO and significant global expansion, achieved over $250 million in revenues in 2021 and serves more than 1,200 financial institutions worldwide. This growth is mirrored in its workplace design philosophy, which aims to create a 'home away from home' for its employees. The interior design of the headquarters on Parker Farm Road at Mayfaire is characterized by a warm and casual ambiance. It incorporates noise-dampening accent walls, natural stone, and soft textures and hues, reflecting the company's investment in its workforce. Katie Smith, senior vice president of finance and operations, highlights that the relaxing indoor environment is crucial given the demands placed on employees. The design balances modern elements, such as stainless steel and expansive interior glass walls, with natural features like hardwood ceilings and ledger stone accent walls. The entrance lobby sets the tone with a water wall, vintage light fixtures, and lush botanicals. A popular upper-level conference room features a large botanical accent wall from Kim Fisher Designs, which, along with a custom-fabricated metal logo, symbolizes the company's forward-focused technology rooted in nature. This approach also considers the potential for plants to enhance indoor air quality. nCino's dedication to its employees extends to providing unique amenities and fostering a supportive internal culture. The headquarters includes a Bitty and Beau’s coffee shop, marking only the second such partnership for the company that employs individuals with intellectual and developmental disabilities. The first floor also boasts a rec room with ping pong and foosball tables, a kegerator, a full kitchen, and a 'jam zone' for musical talents. Currently, these areas overlook a construction site for a new 90,000-square-foot nCino building, which will further enhance employee facilities with professionally designed outdoor spaces for gatherings and alternative work environments. A surfboard check-out zone is also available, promoting outdoor activities and work-life balance. The company’s internal culture is a key factor in its recognition as one of the 25 highest-rated public cloud computing companies to work for by Battery Ventures, and its inclusion on Comparably lists for best company for diversity, best company culture, best work-life balance, and best company happiness in 2021. CEO Pierre Naudé emphasizes that fostering a positive culture and taking care of employees fuels their passion and commitment to nCino’s continued growth, which saw its workforce expand from 1,200 to over 1,500 in 2021. Candice Gurganus, operations project manager, explains that coastal-themed artwork and extensive use of rich wood accents contribute to an inviting and casual space. The design intentionally balances large glass expansions with warm textures and natural elements like the main water wall and botanical accents. The company also prioritizes repurposing existing materials and supporting local artists and designers. An executive-level conference room features a massive live-edge resin table crafted by a local Raleigh artist, which had to be installed via crane through a window. Reclaimed wood is utilized in cubicles, and phone booths with a modern twist offer quiet spaces for focused work or calls, further illustrating the careful consideration given to every detail of the workplace environment. #WorkplaceDesign #CorporateCulture #EmployeeWellbeing #SustainableDesign #OfficeInteriors #FinancialTechnology #WilmingtonNC #CommunityPartnerships #ModernArchitecture