Design Rediscovered: Maritz & Young, A Local Tale of Talent

The article features an interview with Leo Cesareo, an interior designer, discussing his journey, artistic influences, and personal recommendations for exploring Los Angeles. Cesareo recounts his decision to start his own business after years of working for other designers. He describes a pivotal moment at his last firm, where a negative interaction with a junior designer led him to quit on the spot and establish Leo Cesareo Design seven years ago. This experience highlighted his desire to focus on design rather than office politics and bureaucracy. He notes that this decision was a positive one, as he has not encountered similar issues with his own clients. Cesareo attributes his artistic inclination to his family background. His grandfather was an illustrator and 'Ad Man' in Buenos Aires during the 1950s and 60s, creating hand-drawn advertisements for magazines like Time and Life. His father was an architect and contractor, and Cesareo credits learning to draw by observing his father's work at a drafting table. He humorously mentions learning three-point perspective by kindergarten, much to his elementary teacher's surprise. His artistic education continued at the Visual Arts program at LACHSA and then at RISD, where he studied Film and Art History. During his film studies, he developed an interest in set design, focusing on 'world-building' and the psychology behind characters and their environments, which ultimately led him to transition into interior design. At Leo Cesareo Design, his firm aims to create unique, tailor-made interiors for contemporary individuals and households, drawing on his visual arts background to influence spatial composition and light. When asked about local spots in Los Angeles, Cesareo, a native, emphasizes approaching the city through its individual neighborhoods due to its spread-out nature. He suggests that framing LA in this way makes visitors more open to experiencing different areas, even if it involves traffic. He highly recommends The Cara Hotel, praising its transformation from a 1950s motel into a chic, European-feeling establishment with elegant rooms and a stylish courtyard. Its central location is also a plus for accessing both the East and West Sides of the city. For shopping, he points to Departamento in Downtown LA, highlighting the area's growth into a vibrant, walkable neighborhood with interesting shops and cafes. His favorite Korean BBQ spot is Dan Sung Sa, valued for its unique interior design with cubby booths and graffitied walls, which contributes to its 'frenzied cool' atmosphere, making the long wait worthwhile. For an authentic LA experience, he recommends late-night taco trucks, particularly those on Sunset in Echo Park, and diners like Norms and the iconic Johnie’s Broiler (now a Bob’s Big Boy), noting the historical significance of Googie Architecture and fast food in LA's development. For nightlife, he suggests El Cid, Akbar, and underground or gay bars, describing a quintessential LA experience involving secret passwords and unexpected celebrity sightings in unusual locations. Cesareo concludes by giving credit to his alma maters, the LA County High School for the Arts (LACHSA) and the Rhode Island School of Design (RISD). He emphasizes that these institutions provided him with the foundational experiences, work ethic, and community that have supported him since he was 15 years old. The article also provides contact information for Leo Cesareo Design, including his website, Instagram, LinkedIn, and Facebook profiles. #InteriorDesign #Entrepreneurship #LosAngeles #ArtisticInfluence #CreativeJourney #BusinessStartUp #LocalCulture #DesignPhilosophy #RISDEducation

The article showcases the Rising Talent awards at Maison&Objet, a Paris-based trade fair celebrating its 25th year, which took place from September 8-12 at the Parc des Expositions Paris Nord Villepinte. This year's program specifically highlights Dutch design, a field that has historically captured the interest of the industrial design community since the 1990s, with pioneering figures such as Hella Jongerius and Marcel Wanders. The current design landscape, however, is being enriched by a new generation of designers who have been recognized as Rising Talent. A distinguished jury comprising globally renowned female designers, including Kiki Van Eijk, Weiki Somers, Ineke Hans, and Hella Jongerius, selected four individual talents and two design duos for this prestigious accolade. Chantal Hamaide, founder of Intermuros magazine, also played a role in the selection process. While Dutch design traditionally signifies experimental and conceptual approaches, its scope has broadened to encompass an international cohort of students and designers educated or residing in the Netherlands, indicating that "Dutch design is also a state of mind." This new wave of Dutch designers is distinguished by their emphasis on sustainability, frequently incorporating reused waste materials into their creations, and fostering collaborative practices. The article introduces six of these Rising Talents: Atelier Fig, Studio Hanna Kooistra, Théophile Blandet, Studio Yoon Seok-Hyeon, Visser & Meijwaard, and Simone Post, along with Sanne Terweij who received the award for Craft. Atelier Fig, composed of Ruben Hoogvliet and Gijs Wouters, presents the "Gravity" ceramics collection, featuring bowls and candleholders. Their innovative technique involves building objects with liquid clay over a foam armature, which then disappears during firing, resulting in extremely thin, fragile porcelain forms that symbolize impermanence. Studio Hanna Kooistra draws inspiration from traditional Dutch objects and furniture. Her reimagining of the "knopstoel" chair as a foldable, wall-mountable piece exemplifies a nomadic approach to classic styles. Théophile Blandet primarily works with recyclable aluminum and plastic offcuts from local factories, creating pieces that blur the lines between functional furnishings and sculpture, such as his "Fountain of Money," often incorporating socio-economic commentary. Studio Yoon Seok-Hyeon, originally from Cheongiu and a graduate of Design Academy Eindhoven, focuses on environmental impact. His "Relaxing Configuration" project repurposes rug-making knotting skills to create repositionable sofa forms, while his "Ott" project explores tree resin as an alternative, recyclable glazing agent for pottery. Visser & Meijwaard, an Arnhem-based duo, known for their bold hues and clean lines, received praise from juror Ineke Hans for their mastery of product design, exemplified by their LYN cabinet for Pulpo and a kaleidoscopic rug for Moooi. Simone Post, from Utrecht and based in Rotterdam, specializes in textiles, creating rugs from recycled wax-printed cotton leftovers for Label/Breed and flooring from repurposed sport shoes for Adidas, with her design process centered on material exploration and playful experimentation. Sanne Terweij, awarded for Craft, transforms photos of aged doors into wall sculptures using hundreds of colorful metal chips, fascinated by how color influences mood. These designers collectively demonstrate the evolving, innovative, and environmentally conscious direction of contemporary Dutch design. #MaisonObjet #DutchDesign #RisingTalentAwards #SustainableDesign #Ceramics #FurnitureDesign #TextileDesign #ProductDesign #ArtisanCrafts

This article highlights seven innovative design studios from across the globe, showcasing their unique approaches to architecture and design. These emerging practitioners are recognized for transcending traditional disciplinary boundaries, from product design blending technology with furniture to architectural firms challenging physical space limitations through virtual installations. Norman Kelley, based in Chicago and New York, is featured for its sly and conceptual approach, often playing with visual expectations. Their "Wrong Chairs" exhibit, for instance, exaggerated elements of the iconic Windsor chair, making them appear "wrong" yet fully functional. Principals Carrie Norman and Thomas Kelley emphasize a rigorous playfulness in their work, valuing impact and gratification over overwhelming designs. Despite being geographically separated, they maintain constant collaboration, blurring the lines between academic and professional practice. Their work extends to residential rehabs and commercial projects, such as their first retail space for Aesop in Chicago, where they utilized reclaimed common brick, and a subsequent project in New York's Tribeca district, using ombré paint to reflect the neighborhood's character. Homeowner Sam Vinz, who commissioned Norman Kelley for a residential project, praises their ability to refresh existing concepts in an accessible manner. San Francisco-based Branch Creative, led by Nick Cronan and Josh Morenstein, specializes in making technology discreet or "invisible." Their product, Plume, replaces traditional Wi-Fi routers with hexagonal pods that blend into home decor, providing efficient wireless connectivity. Both Cronan and Morenstein bring extensive industrial design experience, having worked for notable companies like fuseproject and Ammunition. They ventured into developing futuristic devices, including the modular Google Ara phone and Athos exercise clothing that provides real-time muscle activity feedback, which they refined to be seamless and intuitive. Despite their focus on technology, they are passionate about furniture design, creating pieces for Council's Drift collection that combine classic forms with subtle illusions, emphasizing longevity and sophistication. SIBLING, a young Melbourne-based firm, is recognized for its experimental and participatory approach to design. The five directors—Amelia Borg, Nicholas Braun, Jane Caught, Qianyi Lim, and Timothy Moore—engage in a wide array of projects, including exhibitions, commercial fit-outs, and residential designs. They actively initiate their own research projects, such as the ON/OFF exhibition, which explored the digital and physical worlds by creating a space that blocked smartphone reception. These conceptual investigations inform their commercial work, exemplified by the DUST retail space that integrated a digital commercial platform into a physical setting. SIBLING's freedom from established practice allows them to design a business model that is unique to their founders' processes, clients, and community. Refik Anadol, a media artist based in Los Angeles, explores the intersection of architecture and digital art. Inspired by the Walt Disney Concert Hall, Anadol created large-scale video artworks that transform architectural facades into dynamic canvases. His collaboration with Gehry Technologies and the Los Angeles Philharmonic resulted in immersive experiences like "Visions of America: Amériques," where real-time custom software projected images responsive to music and conductor movements. Anadol's work also extends to public art commissions, such as "Virtual Depictions: San Francisco" for 350 Mission, which uses Twitter data to generate animations on a large LED display, exploring how public art interacts with public data. He envisions a "post-digital architectural future" where media architecture transcends traditional screens and VR. Tropical Space, from Ho Chi Minh City, focuses on eco-friendly and avant-garde architecture that utilizes simple building materials. Founders Nguyen Hai Long and Tran Thi Ngu Ngon specialize in designing porous homes that "breathe" in tropical climates, moving away from conventional closed-off modern Vietnamese housing. Their projects, such as the Terra Cotta Studio and the two-story Termitary House, showcase innovative facades made from traditional red baked bricks, providing both graphic appeal and natural ventilation. They also design custom furniture from recycled materials, emphasizing simplicity and cost-effectiveness while fostering social interaction within living spaces. APRDELESP, a Mexico City-based architecture office, distinguishes itself through a multidisciplinary approach that integrates commercial ventures with design practice. Founders Rodrigo Escandón and Guillermo González operate a variety of "subspaces" including a restaurant, a café that doubles as a furniture showroom, an art gallery, and a print shop. This model allows them to experiment with how space is used and to circumvent traditional design practices. They view these ventures not merely as revenue streams but as experimental projects to foster new thinking and better conditions for their design work. Their unconventional approach to client engagement and public relations emphasizes dynamic interaction over formal style, resulting in a design methodology that documents the full lifespan of a project through casual snapshots and detailed drawings of everyday objects. LCLA, led by Colombian architect Luis Callejas with bases in Oslo and Medellín, integrates landscape, cartography, and botany into architecture. Callejas, who gained prominence through public competitions and his work on the Aquatic Center in Medellín, challenges conventional architectural typologies by blending natural elements with built structures. His conceptual motif of the "island" highlights the potential for unique developments within contained environments. Callejas advocates for cultivating atmospheres rather than prescriptive sequences, using evocative collages as a key representational tool. His work, like "The River That Is Not" study for the Medellín River, proposes integrated strategies for hydrologic remediation and public engagement, demonstrating a political resonance in his designs. His current projects explore topographical sites in the Andes and Norwegian mountains, applying large-scale thinking to residential jobs. #ArchitecturalInnovation #DesignStudios #ProductDesign #SustainableArchitecture #MediaArt #UrbanPlanning #InteriorDesign #ExperimentalDesign #EmergingTalent

Chencong Zhang, an interior designer and spatial experience designer, embarked on her creative journey driven by a deep desire to create spaces that evoke a sense of belonging. Her personal experience of longing for comfort and familiarity, stemming from being away from her family since the age of 11 and being unable to see them for over 4.5 years due to the pandemic, fueled this aspiration. Initially, Zhang pursued civil engineering as an undergraduate, a popular field in China at the time. However, after two years, she realized it was not her true calling and took a gap year to explore modern arts, design, and other creative avenues. This period ignited an urge to pursue work that resonated emotionally and could impact others' feelings positively. Her first significant step into interior design came in 2015 when she had the opportunity to work on a 7000 sq ft office in Shanghai. The project's goal was to create a comfortable, communicative working environment that seamlessly integrated with its spacious outdoor terrace. Zhang's creative input, particularly her use of colors and materials in material boards and Photoshop renderings, was highly praised. She also collaborated on designing and installing a ceiling installation made of stone and wood, a challenging but rewarding experience that solidified her passion for design. In 2016, Zhang officially began her interior design education at RISD (Rhode Island School of Design). There, she learned about transforming old spaces, gaining inspiration from successful case studies, and connecting with like-minded peers and professors. A pivotal experience was a 2018 visit to Morocco with the Architecture and Ceramics department, where she immersed herself in Islamic art, rich colors, and intricate patterns. This trip, and the subsequent creation of pieces reflecting cross-cultural exchange, broadened her perspective and reinforced the impact of cultural fusion in design. Zhang views storytelling as the core magic behind creating distinctive and tailored spaces. She emphasizes that interior design is about imbuing spaces with personality and crafting a journey for occupants. Her process involves extensive research and imaginative exploration of possibilities. She cites a hotel rooftop design project in Miami, where she integrated elements inspired by the local subtropical climate, lush landscapes, and Bahamian murals, resulting in a bold and unique space that garnered positive online reviews. Zhang attributes her ability to be a good storyteller of spaces to her sensitive nature, which allows her to deeply feel and, in turn, enable others to feel. Her time at RISD, interacting with artists from various disciplines like digital art, glassmaking, furniture design, and textiles, further enriched her understanding of different media and their application in expressing a space's personality. While acknowledging the challenges of bringing creative designs to fruition, including time, cost, and durability, Zhang highlights the importance of problem-solving. Her experience leading the construction administration for a 200-key, $50 million hotel renovation project taught her invaluable lessons in collaboration with consultants, contractors, and clients, and in making informed compromises to deliver high-quality results. She defines her role as a designer as helping clients realize their dreams, emphasizing listening to their needs, offering options, and respecting their perspectives. Zhang's personal journey underscores the message of following one's heart to discover one's true self and purpose. #InteriorDesign #SpatialExperienceDesign #CreativeJourney #StorytellingInDesign #RISDAlumni #CulturalExchange #ProjectManagement #DesignPhilosophy #Entrepreneurship

Tiffany Thompson, founder of Duett Interiors in Portland, Oregon, shares insights into her journey from working at Nike to establishing her interior design firm, emphasizing the unconventional path she took and the unique principles guiding her business. Born and raised in Queens, New York, Thompson initially had no exposure to interior design as a career. Her early life was immersed in sports, leading her to believe that a career not requiring formal attire was her calling. After playing soccer in college, she worked for a basketball team in Miami, which eventually led her to a position at Nike in Chicago at 22, and later in New York and Portland. Throughout her time at Nike, Thompson found herself naturally decorating her dorms and apartments, an activity she initially dismissed as a viable career. Her friends, however, consistently sought her help with their spaces, paying her modest sums or offering free food. This informal side hustle grew, especially after she purchased a house in Portland in 2016. At Nike, Thompson moved through various roles, starting as an administrative assistant and transitioning into marketing for influencers before it became a mainstream concept. She built significant relationships, including with figures like Virgil Abloh, by focusing on genuine connections rather than transactional interactions. She later worked as a tech rep, discussing Nike products, and eventually joined the apparel design team in Portland, where she managed product lines for athletes like Serena Williams and Rafael Nadal, and contributed to women's sportswear footwear, including Air Force 1s. Her core strength throughout these roles was storytelling, connecting products to new consumers by highlighting their heritage and tweaking designs. Thompson credits her Nike experience with teaching her how to run a $50 billion company, including identifying market gaps and converting opportunities into sales. She also learned the importance of making mistakes and seeking guidance from leaders. Storytelling remains a cornerstone of her design philosophy; she uses it to connect clients emotionally to their spaces, drawing inspiration from diverse sources like global architecture and personal travel experiences. Her design approach often starts with the "why" behind a design choice, engaging clients in the narrative before presenting the aesthetic. This method is deeply personal, stemming from her own experience of being adopted and her desire to create comfortable, belonging-infused spaces for others. The transition to full-time design was unexpected; Thompson was fired from Nike, an event she now views as a necessary push to pursue her passion. Her first clients were acquaintances and friends, including an NFL player and an NBA superstar, who trusted her based on her reputation and past work ethic at Nike. These high-profile projects, including designing a $17 million condo in San Francisco, prepared her for the demands of high-end clientele. She now works on a variety of projects, including residential homes, a custom build for the NW Natural Street of Dreams, and an English Tudor-style house. She also participated in a TV show for Discovery+ and HGTV, redesigning spaces for teenagers who made significant contributions during COVID-19, which allowed her to apply luxury design concepts to more approachable projects. Thompson is deliberate about her project selection, prioritizing compatibility with clients, as she views the design process as an intimate, emotional collaboration. She aims for her designs to serve as backdrops for clients' memories rather than temporary trends. Her firm, Duett Interiors, reflects her belief in harmonizing client needs with unexpected, beautiful outcomes. She emphasizes creating grand moments and activating the five senses rather than adhering to a minimalist or maximalist label. She strives to build an all-female or majority-women team with diverse cultural backgrounds and perspectives to ensure variety and prevent her designs from becoming repetitive. Thompson plans for Duett Interiors to grow steadily, focusing on quality over quantity, with an eventual expansion into product design and television to showcase her firm's ethos to a broader audience. She and her boyfriend are also committing to planting roots in Oregon, aiming to contribute to and diversify the local design scene, highlighting the state's unique advantages like no sales tax and a vibrant artisan community. #InteriorDesign #BusinessDevelopment #Entrepreneurship #StorytellingInDesign #NikeInfluence #FinancialLiteracy #PortlandDesignScene #WomenInDesign #ClientRelationships

The article highlights the career and creative inspirations of Matt McKay, an alumnus of Parsons AAS Interior Design (2012). McKay, now an accomplished interior designer, has recently launched his own collection of furniture, expanding his firm's focus beyond residential projects. His work has been recognized in prominent publications such as Architectural Digest, Surface, and Remodelista. McKay draws inspiration from a diverse range of sources, including renowned artists and thinkers like Maria Pergay, Alan Watts, and William Eggleston. Beyond these cultural figures, nature, landscapes, and travel significantly influence his design philosophy. He emphasizes the importance of immersive experiences, such as hiking or walking along a beach, for fostering creativity. International travel is also a key component of his creative process, allowing him to absorb different cultures, art forms, design aesthetics, and culinary experiences, which he describes as a "feast for the senses" that ignites adventure and new ideas. His current projects are varied, with residential designs underway in several key locations including New York, the Hamptons, Connecticut, Miami, and Austin, Texas. The article features a selection of interiors designed by McKay, showcasing his unique approach to space creation. These illustrations provide visual examples of his design aesthetic and how he translates his inspirations into tangible environments. McKay's decision to establish his own practice was a deliberate step towards greater personal and professional growth. He acknowledges having felt comfortable in his previous roles at other firms but recognized the need to challenge himself further. His time at Parsons played a foundational role in his success, providing him with essential technical knowledge pertinent to practical work settings. The curriculum also exposed him to influential interior designers and innovative creatives, which profoundly shaped his educational journey and subsequent career path. For aspiring designers, McKay offers a piece of advice rooted in passion and meticulous study: "Collect, find something to obsess over, study it constantly, and acquire based on this passion." This guidance underscores the importance of deep engagement and continuous learning within the design field. The article also presents a selection of furniture pieces designed by McKay, demonstrating his venture into product design and his ability to create bold, eclectic items, including chairs, tables, and various seating options. This expansion into furniture design complements his interior design work, showcasing his comprehensive creative vision. Overall, the article portrays Matt McKay as a designer deeply connected to his inspirations, both natural and artistic, who leveraged his education at Parsons to build a successful and evolving practice. His story serves as an example of an alumnus making a significant impact in the design world through innovative work and a commitment to continuous creative exploration. #MattMcKay #ParsonsAlumni #InteriorDesign #FurnitureDesign #CreativeProcess #DesignInspiration #ResidentialProjects #TheNewSchool #DesignEntrepreneurship

Jonathan Matti, an interior designer with an architectural background, has established himself over four decades as a leading figure in Manila's interior design scene. He is the founder and CEO of an eponymous interior design firm and is known for projects such as the Goldenberg Mansion's Glass House and the creative hub Vetted. Matti describes his design philosophy as an integration of "Old World elegance meets 21st-century living," aiming to create spaces that are rich and nuanced without feeling anachronistic or like a museum. Matti emphasizes the importance of client collaboration, stating that successful projects stem from clients who share his appreciation for graceful, modern interiors with a historical feel. He welcomes opinionated clients, viewing such exchanges as a healthy dialogue that enriches the design process. His approach resonated internationally, leading to a collaboration with British company de Gournay to create "Latina Manila," a wallpaper series inspired by Filipino culture and history. His architectural training enables him to bridge the gap between space design and interior design, effectively resolving incongruities between a structure's architecture and its interior furnishings. A notable highlight of Matti’s career involved designing "The Glass House" at the Goldenberg Mansion. Following an unexpected downpour during an event hosted by First Lady Liza Araneta-Marcos, Matti was tasked with creating a weather-proof indoor space. He conceived an air-conditioned annex of glass, steel, and wood, drawing inspiration from pre-Victorian era glasshouses. This structure was designed to blend with the gardens and allow natural light and views in, while providing a comfortable, semi-outdoor venue for events, complete with appropriate lighting. Matti's transition from aspiring architect to celebrated interior designer was influenced by his early exposure to diverse architectural styles through his mother, a real estate broker specializing in Makati villages. His first interior design project, which involved significant re-arrangement and minor construction, solidified his passion for interior design. This initial success led to numerous projects, eventually prompting him to focus solely on interior design. The creative hub Vetted emerged during the pandemic when Matti repurposed a rented storage space. Envisioned as a venue for pop-up events and creative gatherings, Vetted extends Matti's design philosophy, ensuring that all hosted events align with his aesthetic. Its inaugural event was an art exhibit by Elmer Borlongan. Despite initial challenges, Vetted has successfully hosted various events, including a pop-up store collaboration called “Garden of Earthly Delights.” Matti continues his collaboration with de Gournay, hinting at future home-related projects that will bear his signature elegance and meticulous vetting. #InteriorDesign #OldWorldElegance #JonathanMatti #ArchitecturalDesign #PhilippineDesign #DeGournay #GoldenbergMansion #VettedCreativeHub

Axos Designs, a New York-based millwork shop, has established itself as a leading provider of custom architectural woodwork, cabinetry, and interior detailing for high-end residential and commercial projects across New York City. The company, originally a small family business, has been transformed by Chris Yerolemou, a former investment banker and the son of the founder, into a thriving operation recognized for its commitment to quality and ability to meet the demands of a competitive market. Axos Designs is particularly known for manufacturing 100% of its products in the United States, a core value emphasized by Yerolemou. The firm's portfolio includes collaborations with luxury brands and establishments such as Aime Leon Dore, Kith Ivy, Giorgio Armani, Casa Cipriani, Avra Hudson Yards, and Marquee New York. These projects span a diverse range, from custom shelves and wall paneling for retail spaces to intricate interiors for upscale restaurants and residential kitchens, like an oak veneer wall for a Southampton, NY kitchen. This versatility highlights Axos Designs' capability to cater to various high-end design requirements. The company's success is attributed to its unique blend of traditional craftsmanship and modern technological integration. While skilled artisans apply finishing touches, Axos Designs also incorporates state-of-the-art machinery, such as Altendorf table saws, into its production process. This dual approach ensures both precision and the personalized care characteristic of bespoke woodwork. Yerolemou, leveraging his background in tech and finance, has made strategic investments in advanced equipment and project management systems, enabling the company to deliver projects on time and to exact specifications. Axos Designs has experienced significant growth under Yerolemou's leadership. The company is set to triple its current operational space, expanding to 40,000 square feet across two shops in Queens. This expansion includes integrating new machinery, increasing its workforce, and adopting the latest AI technology. The number of employees has grown from approximately 10 when Yerolemou took over to nearly 60, reflecting the increased demand for their services. Despite this rapid expansion, Yerolemou asserts that the company remains true to its foundational values of integrity, consistency, and excellence, ensuring that every project reflects the high standards set by his father. The firm's reputation for reliability and superior quality has garnered the trust of prominent design professionals throughout New York City. Axos Designs is currently in such high demand that it is acquiring an additional 30,000-square-foot factory to further accommodate its growth. The company's ongoing success demonstrates that in a fast-paced urban environment like New York City, there is still a significant appreciation for meticulous craftsmanship and a dedication to quality. #Millwork #CustomWoodwork #ArchitecturalMillwork #Cabinetry #InteriorDesign #NewYorkCity #LuxuryDesign #Craftsmanship #Manufacturing

Adriana Jacir, founder of 2112 Design Studio, details her journey as an architectural interior designer, emphasizing the motivations behind starting her own business and the challenges she overcame. Her decision to launch her own venture was driven by a desire for flexibility as a parent of two young children without local family support, and a dissatisfaction with the traditional architectural firm environment in the U.S. Having emigrated from another country, she found the architectural landscape in the U.S. significantly different, necessitating a new perspective and learning curve. Her path to entrepreneurship was marked by significant personal and professional hurdles. As an immigrant, the process of obtaining U.S. citizenship was demanding and required considerable resilience. She pursued her Master’s Degree in Advanced Architectural Design at Columbia University in New York City, a long-held dream. However, her husband’s career and immigration status led them to relocate to Detroit, a city where she faced cultural differences and her first experiences with discrimination as a highly educated professional not born in the U.S. Despite these difficulties, she gained valuable experience in an architectural office. A subsequent visa requirement necessitated a move to an underserved area of the U.S. for three years, leading them to Yakima, Washington. Unlike Detroit, Yakima offered a more welcoming environment for foreigners. There, she briefly worked for an architectural firm but quickly recognized the need for greater flexibility, both as a mother and as a designer committed to creating functional, well-designed homes. This led her to co-found her first Design + Build firm in Yakima with a like-minded colleague. They obtained a General Contractor license, assembled a team, and successfully designed and remodeled homes, gaining hands-on experience in managing construction projects. After six years in Washington, her husband’s job offer prompted another move to Miami, where she again started afresh. In Florida, she established 2112 Design Studio, an interior design firm specializing in residential design. The studio focuses on creating thoughtful, functional, and aesthetically pleasing living spaces by seamlessly blending architectural principles with interior design. Jacir emphasizes that her unique approach involves considering flow, function, and structure from an architectural perspective, while also integrating the detailed elements that make a house a home. Adriana Jacir attributes her success to resilience, adaptability, and the cultivation of strong relationships. She aims for her story to inspire others, demonstrating that passion and perseverance can unlock significant opportunities even when faced with uncertainty. She credits her husband, Dr. Alberto Jacir, for his unwavering support and belief in her vision, which enabled her to pursue entrepreneurship while managing family life. Her mentor, Cheryl Clendenon, also played a crucial role in shaping her business and design approach. Above all, her children serve as her primary motivation, pushing her to be a better mother and inspiring her to build a meaningful legacy through hard work and passion. #ArchitecturalDesign #InteriorDesign #Entrepreneurship #ImmigrantJourney #BusinessOwner #ResidentialDesign #Miami #DesignStudio #CareerDevelopment

The perception of gallery walls as a dated decor trend has been challenged by designer Sara Simon's approach in a Greenwich Village townhouse. Previously dismissed for being cluttered or belonging to an older design era, Simon's work demonstrates that with thoughtful execution, gallery walls can achieve a timeless aesthetic. Simon's design, featured in a $23 million New York City townhouse, utilizes a gallery wall composed entirely of black-and-white photography, primarily depicting musicians and cultural icons. This choice of a consistent monochrome palette is crucial in unifying the diverse images, making the wall appear cohesive despite its varied content. The images, such as The Beatles meeting Muhammad Ali or Frank Sinatra mid-shave, possess a vintage quality without being anchored to a specific decade, allowing them to blend seamlessly. Scale is another critical element in Simon's design. Recognizing the height of the walls in the parlor room, she incorporated a mix of large and smaller frames to fill the entire space, avoiding a rigid, grid-like appearance. This approach creates an animated feel that harmonizes with the room's vintage furniture and the home's historical character. Simon intentionally avoided perfectly aligned frames, opting for a more organic and dynamic arrangement to enhance this effect. To further unify the eclectic collection, Simon chose consistent wood frames throughout the gallery wall. While she emphasizes that matching frames are not a strict rule, this choice contributed to the overall harmony of this particular installation. She believes that the true success of a gallery wall lies in its ability to reflect the personality and interests of the homeowner, describing it as an expression of the individual's life and perspective. Simon highlights that her design principles are not rigid doctrines but rather adaptable strategies. She acknowledges that in her own home, she employs a gallery wall that mixes photographs, paintings, and various colors. This flexibility underscores the idea that customization and personal relevance are key to making a gallery wall timeless and meaningful. The setting of Greenwich Village, known for its artistic and eccentric residents, further supports the notion that a personalized, art-filled environment feels perfectly at home. In addition to the main gallery wall concept, the article provides several product suggestions for readers looking to create their own gallery walls. These include a pre-curated set of varied frames for an eclectic look, a bold colored print to make a statement, a consistent geometric frame for a cohesive feel, and a vintage-inspired photographic print. The article also touches upon incorporating tiny art and utilizing matted frames to give casual snapshots a sense of authority. It concludes by suggesting the inclusion of vintage tapestries as an emerging trend in art and decor, potentially integrating them into a gallery wall for added texture and interest. #GalleryWalls #InteriorDesign #HomeDecor #DesignTrends #ArtCollection #BlackAndWhitePhotography #PersonalStyle #TimelessDesign

Artu, a Polish furniture design brand, has announced a new collection developed in collaboration with German designer Moritz Putzier. The brand, established four years ago, has carved a niche in the home interior and hospitality markets with its refined, minimalistic, and aesthetically pleasing style. Artu's furniture collections are known for their high-quality fabrication and materials, resulting in durable, functional pieces characterized by simple yet thoughtful design. The brand operates on a model of collaborating with international designers to bring new collections to life. Dmitry Rym, founder and CEO of Artu, explained the brand's origins, stating that it emerged as a natural progression from a trading and production company that had been successful in Eastern Europe since 2000. Leveraging 17 years of experience in producing and supplying furniture for the contract segment, the company decided to launch its own furniture design line to address a gap in the market. Early collaborations, such as with Ukrainian designer Pavel Vetrov, quickly led to commercial success. Initially working with Eastern European designers, Artu later expanded its collaborations globally, repositioning itself as a European brand based in Poland with a world market orientation. Artu's focus on fine and concise design is driven by the European design market, proving successful for both hospitality and home interiors. The brand specializes in furniture that demands a high level of craftsmanship, particularly chairs, which require a perfect balance of design, ergonomics, and construction. Artu's signature style incorporates natural materials like wood and metal, combined with minimalistic shapes. A notable achievement for the brand was receiving the prestigious Red Dot International Award in 2020 for its WOX chair, an early design composed of only seven pieces, which quickly found success in the hospitality market with over 2,500 units sold in its first year. Artu aims to release 3-4 new collections annually, rigorously selecting projects from numerous proposals. Only about 1 in 25-30 offers proceed to production, a process that can take from four months to two years. The complexity of furniture design, especially for chairs, often means many ideas remain conceptual due to production challenges or incompatibility with the brand's style. Artu continuously seeks new ideas and collaborations with product designers who can meet these stringent requirements. The upcoming 'Taptap' collection with Moritz Putzier is highlighted as a unique design perfectly aligning with Artu's aesthetic. The series, crafted from solid ash wood without any plywood elements, emphasizes a tactile experience and aesthetic completeness. The chairs are characterized by their simple, concise appearance, harmonious proportions, and distinctive leg design. Putzier's direct involvement, including providing a prototype, significantly shortened the development time by pre-empting ergonomic and design challenges. Artu plans to present this collection, which includes a series of chairs, in 2023, with another collection with Putzier also in development. Moritz Putzier described the 'Taptap' collection as a re-evaluation of conventional chair appearances, prioritizing functionality while introducing surprising elements. The design inspiration for the chair, for instance, includes an unusually low backrest that supports comfortable and varied seating positions, bridging the gap between a chair and a stool for everyday use. He aimed for a flexible seating solution delivered in a minimal yet friendly manner. The name 'Taptap' was inspired by the visual effect of the chair's wide feet and their arrangement, evoking a rhythmic sound. Putzier summarized the collection in three words: 'Surprising' due to its refined details and flexible use, 'Pure' for its adherence to simple geometric shapes, and 'Friendly' because of its colorful and sympathetic appearance. #FurnitureDesign #ProductDesign #Collaboration #Artu #MoritzPutzier #InteriorDesign #HospitalityDesign #MinimalistDesign

The Cooper Hewitt, Smithsonian Design Museum's exhibition, "The Jazz Age: American Style in the 1920s," is presented as the inaugural major museum exhibition focusing on American design trends during the 1920s. Despite its American concentration, the exhibition serves as a dynamic international showcase, reflecting the era's rapid cultural and technological advancements. Sarah Coffin, curator and head of product design and decorative arts at Cooper Hewitt, co-organized the exhibition with Stephen Harrison of the Cleveland Museum of Art. Coffin noted that previous European Art Deco exhibitions often overlooked American contributions. The exhibition's inception stemmed from the discovery of a significant collection of previously underexhibited 1920s materials during the Cooper Hewitt's multi-year renovation, coinciding with the Cleveland Museum of Art's holdings, which include pieces from the influential Paris 1925 International Exhibition of Modern Decorative and Industrial Arts. The two-floor exhibition is a visually overwhelming experience, featuring over 400 objects that embody the decadence, novelty, and eclectic styles characteristic of the Roaring Twenties, as described by F. Scott Fitzgerald as an "age of miracles, it was an age of art, it was an age of excess, and it was an age of satire." Organized around themes such as "Bending the Rules" and "Abstraction and Reinvention," the exhibition displays a diverse array of items, including furniture, flapper dresses, paintings, and Prohibition-era cocktail shakers, illustrating the cross-pollination of influences across various artistic media. Many contributing designers were European immigrants or had their works imported, while American designers often studied abroad, incorporating European techniques and aesthetics like tubular metal from the Bauhaus or bold colors from De Stijl. Examples include Ruth Reeves, who studied textiles with Fernand Léger in Paris before working on Radio City Music Hall designs, and Viktor Schreckengost, who blended his Vienna sculpture studies with his Ohio pottery background. Coffin emphasized that the exhibition highlights the vibrant exchange of ideas among designers from different countries converging in American urban centers, leading to an extraordinary amalgamation of modern design thinking on American soil. The installations showcase this international exchange, such as British designer Wells Coates’s Bakelite radio on German designer Kem Weber’s streamlined sideboard, both intended for mass production. Pieces like Russian-born craftsman Samuel Yellin’s wrought iron fire screen alongside Lorentz Kleiser’s tapestry of Newark’s transformation demonstrate the persistence of historical European aesthetics. Architectural influences are also evident, with Austrian émigré Paul Frankl’s "Skyscraper Bookcase" incorporating the zoning-enforced setbacks of new skyscrapers, a motif echoed on a smaller scale in Erik Magnussen’s Cubic coffee service. The exhibition aims to draw connections between objects, illustrating the palette and styles of the era, such as a Jean Dunand enamel vase placed beside a similarly colored dress. It also reveals influences between designers, like Edgar Brandt’s screen impacting the Rose Iron Works of Cleveland, highlighting a continuous artistic dialogue. The exhibition "The Jazz Age: American Style in the 1920s" remains open at the Cooper Hewitt, Smithsonian Design Museum through August 20. #JazzAge #AmericanDesign #ArtDeco #CooperHewitt #DesignHistory #CulturalExchange #ExhibitionReview #RoaringTwenties #ModernDesign

Architect Patrick Ahearn has completed a new residential project, "Rural Vineyard," located just outside Edgartown on Martha's Vineyard. This residence is designed to seamlessly integrate with the area's historical architectural character, appearing as though it has been part of the landscape for over a century. Ahearn, known for his expertise in historically motivated architectural and design styles, has previously preserved and revitalized numerous historic properties in Edgartown. Rural Vineyard stands as a newly constructed home that successfully mimics the traditional gambrel shingle style prevalent in the region, blending in with its older surroundings. The design of Rural Vineyard is characterized by its H-shaped schematic, which optimizes long views towards the water from its primary living spaces. The architect strategically incorporated window choices, such as a fully glazed wall in the sunroom, to maximize natural light and offer expansive coastal vistas. Despite these modern interior elements, the exterior maintains historical accuracy, reflecting classic coastal New England architecture. The property's access features a courtyard, a pedestrian entry, and a carriage house wing. Complementing the main house are a separate gambrel-style guesthouse/cabana, a discreetly placed pool, and a garden, all situated at the opposite end of the courtyard. Inside, the finishes are meticulously crafted to evoke the grandeur of early 20th-century shingle-style homes, creating the impression of a painstakingly restored property rather than a new build. Ahearn prioritized open spaces and functionality in the interior design, incorporating modern conveniences and a neutral color palette that aligns with a contemporary island lifestyle. The construction of Rural Vineyard presented several challenges, primarily related to the land's significant topography. To overcome this, the team constructed 16-foot concrete walls and retainers, ingeniously concealed to make the house appear nestled within a natural wildflower field. Extensive mature planting was introduced to further enhance this illusion, making the home seem as though it has been in place for over 100 years. Another design decision involved the placement of the pool and guesthouse on the landside. This arrangement served to define the entry and parking court, leaving a portion of the main house in its natural wildflower setting. This strategic placement also created an additional recreational and social area, distinct from the primary residence. Through effective use of a courtyard and breezeway, Ahearn achieved cohesion and flow among the main house, carriage house, and pool cabana. The interior details include antique oak flooring that elongates hallways, welcoming archways, and an open floor plan with cool, nautical colors and rugs to define gathering spaces. Strong, cased beams contribute to the home's implied historical character. The sunroom features a brick floor, transitioning seamlessly from indoor to outdoor space, while the pool cabana boasts a bluestone floor, casual furnishings, and a ship ladder leading to a guest room, adding a nautical touch. Full-height millwork paneling, a detailed staircase, and carefully placed antique furnishings and artwork enhance the sense of historical accuracy and visual interest. The successful integration of new construction with historical aesthetics and modern functionality positions Rural Vineyard as an elegant and livable island homestead. #ArchitecturalDesign #HomeDesign #LuxuryHomes #CoastalLiving #MarthaVineyard #HistoricPreservation #NewEnglandArchitecture #InteriorDesign #LandscapeDesign

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

This article introduces the second edition of Ann Ferebee’s book, "A History of Design from the Victorian Era to the Present." The author reflects on the significance of the first edition, published in 1970, as their initial foray into design history, noting that it predated Philip B. Meggs’ "A History of Graphic Design" by over a decade. The original book, despite being black and white, provided a comprehensive overview of modern design from the Victorian era up to its publication. The second edition, co-authored by Ferebee and Jeff Byles, is a full-color volume that expands the historical scope by four additional decades. This updated version serves to highlight the evolution of the design history movement itself, a field that Ferebee's original work helped to prefigure. The book offers a cross-disciplinary survey of design history, covering major milestones in architecture, interior design, graphic design, product design, and photography. Its timeline spans from the Crystal Palace of 1851 to the advent of the iPhone in the early 21st century. The volume traces the development of modern design across various continents and cultures, identifying key movements and design traditions that have shaped the contemporary world. It begins with the period of innovation in Victorian England at the onset of the Industrial Revolution, detailing subsequent design evolutions over more than a century and a half. This includes an exploration of Art Nouveau's ornamental style, the 'new vision' introduced by the Bauhaus, the emergence of the International Style, and the later developments in postmodernism and contemporary graphic arts and landscape architecture. Prominent design figures are contextualized within the broader framework of changing aesthetic idioms. The authors pay particular attention to how technological innovations acted as catalysts for architectural marvels like daringly conceived skyscrapers and bridges, as well as functional designs such as cantilever chairs. Furthermore, the book examines the impact of technical advancements on industrial design, typography, and photographic portraiture, illustrating how these fields were transformed by new technologies. The book's comprehensive nature and updated content make it a valuable resource for understanding the multifaceted history of design. #DesignHistory #AnnFerebee #VictorianEra #ModernDesign #ArchitecturalHistory #GraphicDesign #ProductDesign #InteriorDesign #TechnologicalInnovation

The article explores the cyclical nature of design trends, highlighting how Gen Z's current popular styles are often updated versions of those previously embraced by Millennials. This phenomenon is analyzed through the observations of Reeves Connelly, a content creator and architectural design expert, who identifies parallels between generational aesthetics. He notes that the term "cheugy," used by Gen Z to describe outdated or "trying too hard" Millennial tastes, is itself a recurring generational judgment, akin to "basic." Connelly provides several examples of these recurring trends. The checkered pattern, widely favored by Gen Z, is presented as a modern iteration of the Millennial obsession with chevron patterns. Similarly, the mushroom motif, a popular decorative element among Gen Z, is likened to the Millennial pineapple. Another comparison is drawn between Gen Z's preference for squiggle mirrors and the hexagonal mirrors popular with Millennials. The current trend of cowboy boots and hats among Gen Z is viewed as a reinterpretation of the Millennial mustache and top hat trend. Finally, the article points out that the unique "blobby cups" popular with Gen Z are essentially their version of the ubiquitous Millennial Mason jars. Connelly attributes his ability to spot these parallels to his education in architectural design and his position as someone born on the cusp of both generations (1996), which has exposed him to the design styles of both. He emphasizes that design trends are inherently cyclical, and it is uncommon for any generation's style to be completely original; most styles borrow elements from previous eras. He further explains that Gen Z's home decor style is largely influenced by the Memphis design movement and postmodern design, characterized by its colorful and maximalist approach, echoing 1980s trends. This vibrant and playful aesthetic, according to Connelly, is a direct response to Millennials' inclination towards the cleaner, more understated mid-century modern style that experienced a resurgence in the past decade. He suggests that it is a natural human tendency for a new generation to adopt a radically different design sensibility after growing up immersed in a previous generation's dominant style. Ultimately, Connelly concludes that the cycle of labeling certain trends as "cheugy" or "basic" is inevitable across generations. He asserts that people's opinions on interior design choices are irrelevant, as these are subjective preferences that should not be dictated by societal judgment. The article reinforces the idea that aesthetic trends continuously evolve and reappear, albeit in new forms, and that every generation will eventually face similar critiques of their popular styles. #GenZ #Millennial #DesignTrends #InteriorDesign #Cheugy #CulturalPhenomenon #GenerationalDifferences #ReevesConnelly

Mark Jupiter, a designer and builder, discusses his journey and inspirations in the latest "Friday Five" feature. From a young age, Jupiter felt a strong inclination towards creation, which eventually led him to design and construct his first house. He meticulously crafted every element, a process he considered essential to experience at least once. This initial venture involved building a massive Gambrel timber frame and constructing some of the country's first LEED Platinum homes, solidifying his belief that his true calling lay at the intersection of craft and invention. Jupiter's path was not without significant challenges. He faced personal tragedies with the loss of both parents and the collapse of his housing company during the 2008 financial crisis. These events left him at a crossroads, but with the steadfast support of his wife, he found the courage to reinvent himself. Her unwavering belief in his abilities inspired him to return to his roots in furniture making, a field he was intimately familiar with through his upbringing. Having learned the intricacies of the trade from his father, a general contractor, Jupiter's hands-on experience ranged from lifting materials to sanding wood. This innate aptitude led him to relocate from upstate New York back to the city to establish his own business. In 2013, he opened his eponymous studio in Brooklyn's DUMBO neighborhood. Starting with a collection of a dozen pieces, which he describes as "the functional jewelry of any room," his operation has since expanded significantly. Today, Mark Jupiter's studio has evolved from a one-man endeavor into a leading, state-of-the-art manufacturing facility and showroom on the East Coast. This growth is particularly notable given the continuous displacement of craft-based businesses from high-end urban areas. The workshop serves not only as a production space but also as a community hub, fostering connection and inspiration among its members. Jupiter values collaboration, emphasizing that the success of his brand is a testament to the collective talent, passion, and precision of his team. In the "Friday Five" segment, Jupiter shares five key inspirations. His wife's pottery, with its quiet power and focus on form, texture, and restraint, consistently impresses him and teaches him about the enduring quality of subtle craftsmanship. Chopping wood provides him with a satisfying, rhythmic activity that connects him to direct consequences and the primitive essence of design. His daughter's honest and unpretentious poetry and singing remind him of the importance of genuine creative expression. He finds immense value in observing master artists at work, citing his experience with painter Craig Anthony Miller, whose process of creating a mural in Jupiter's showroom exemplified dedication and confidence. Finally, his deep affection for goats and other farm animals reflects his connection to a grounded, soulful way of life, providing a refreshing contrast to his urban professional environment. His DUMBO showroom, KITH collaborations, the Jacqueline Desk, the Gabriel Credenza, and the Bose collaboration are highlighted as examples of his work. Each of these inspirations, from personal relationships to practical activities and professional collaborations, underscores Jupiter's philosophy: that authentic creativity and masterful craftsmanship are born from genuine experience, collaborative effort, and a deep appreciation for both the refined and the natural aspects of life. His work, whether furniture pieces or larger installations, consistently reflects this integrated approach to design and living. #MarkJupiter #FurnitureDesign #Craftsmanship #DesignInspiration #BrooklynDesign #CreativeProcess #Entrepreneurship #HomeFurnishings #Woodworking

Meredith Stern, an interior designer and home stylist, defines her legacy through the relationships she cultivates with clients and the personal, transformative spaces she designs for them. Her design philosophy extends beyond aesthetics, focusing on understanding each client's lifestyle, preferences, and aspirations to create spaces that are not only visually appealing but also uniquely tailored to their individual needs. Stern limits the number of large-scale projects she undertakes to ensure each receives her full attention and commitment. Her undergraduate background in psychology significantly influences her design approach, enabling her to create homes that positively impact her clients' mood, productivity, and overall well-being. She emphasizes that the functionality and appearance of a home profoundly affect happiness and quality of life, aiming for her projects to leave a lasting impression of joy, comfort, and inspiration. Meredith Stern Interiors is characterized by its meticulous approach to client understanding, eschewing 'cookie-cutter' designs for personalized spaces that enhance daily life. Stern's psychological background provides a unique insight into how environments shape emotions and well-being, which she integrates into every project. She takes pride in the trust clients place in her to actualize their visions, finding immense reward in transforming homes and the lives within them. The human connections forged during projects are as meaningful to her as the design itself. Starting her own business, Meredith Stern Interiors, was a significant life transition initiated during the COVID-19 pandemic after renovating her own home in Florida. This experience rekindled her passion for design, though the entrepreneurial journey presented challenges such as client acquisition, balancing creativity with business operations, and establishing her brand in a competitive industry. Perseverance, hard work, and the support of her husband, family, and the design community were crucial to her success. She learned the importance of patience, resilience, and maintaining her vision, along with prioritizing quality over quantity by selectively choosing projects to ensure dedicated attention to each client. Stern articulates that Meredith Stern Interiors is more than just about creating beautiful spaces; it is about designing homes that genuinely reflect their inhabitants. Her overarching goal is to craft spaces that are aesthetically pleasing, highly functional, and transformative, ultimately bringing joy, comfort, and daily inspiration to her clients. She views design as a service that profoundly impacts lives by shaping the environments people inhabit. The interview also delves into a personal anecdote, outlining a hypothetical week-long itinerary for a best friend visiting Florida, filled with activities centered around thrifting, vintage hunting, and design inspiration. This includes visits to World Thrift in Lake Worth Beach, various thrift stores in Delray Beach, followed by dinner at The Grove. The itinerary extends to Miami to explore vintage and antique shops on Biscayne Boulevard, particularly mentioning Avra Art, Robert Massello, Cur8ed Studio, Iconic Design Gallery, CastellArts, and Michel Contessa. Meals at Mandolin in the Design District are suggested, alongside exploration of Wynwood's street art and the Design District's architecture. A visit to the Morikami Museum and Japanese Gardens in Boca Raton is also included, highlighting its serene beauty and intentional design. Stern attributes much of her success and confidence to her husband, who has been her biggest supporter and cheerleader since the inception of Meredith Stern Interiors, providing unwavering belief and encouragement throughout the challenges and triumphs of entrepreneurship. #InteriorDesign #HomeStyling #MeredithStern #ClientRelationships #PsychologyInDesign #Entrepreneurship #FloridaDesign #PersonalizedSpaces