Design Talk With Róisín Lafferty At Design Week Dublin

Architect and interior designer Maria MacVeigh delivered a Design Talk during Design Week Dublin, providing insights into her professional journey and design philosophy. Facilitated by architect Amanda Bone, the session began with MacVeigh recounting her upbringing in a creatively stimulating household. Her father, an architect from Belfast, and her Spanish mother, a dressmaker, instilled in her an early appreciation for creativity, design, and making. MacVeigh vividly recalled the floor plan of her childhood home and annual family trips across Europe focused on architectural and art tours, fostering her belief that building interiors offered a "world of possibilities." After completing her interior design education, MacVeigh gained extensive international experience working in London, Barcelona, and Chile. She established MMV Design in Dublin in 2004, leveraging her diverse background in both architectural and interior design. Subsequently, she became a registered architect. She highlighted Barcelona's profound influence on her work, noting the city's strong design culture where even young clients demonstrated a keen appreciation for design, materiality, finishes, and form. Her time working for Ricardo Bofil's practice and living in one of his designed apartments in Barcelona solidified the impact of Mediterranean style on her aesthetic. MacVeigh's approach integrates her deep understanding of construction, manufacturing, and landscape, which is reflected in her award-winning projects. She explained how her dual professions as an architect and interior designer complement each other, informing her methodology for reconfiguring layouts, optimizing spatial sequences, and meticulously detailing finishes, furniture, and lighting. A central tenet of her design philosophy is the creation of connectivity and continuity between various spaces within her projects. Her presentation showcased the serene and refined quality of her interiors, achieved through a rigorous design process, precise construction detailing, and thoughtfully selected materials and finishes. She presented a range of projects, including her work on the Michelin-starred Chapter One restaurant and her sister's residence, which incorporates elements referencing their shared childhood memories. MacVeigh emphasized the collaborative nature of her work, frequently crediting skilled craftspeople such as David Coyne for joinery and Bernard Hickie for landscaping. She summarized her design philosophy as ensuring that "Everything has to make sense." Design Week Dublin, partnered with Range Rover, served as the platform for this insightful discussion. The article also included a gallery of attendees, photographed by Conor Healy of Picture It Pix. #DesignWeekDublin #MariaMacVeigh #InteriorDesign #Architecture #DublinDesign #DesignPhilosophy #MMVDesign #ResidentialDesign

The inaugural Dublin Design Week is poised to spotlight the significant contributions of Irish architects and interior designers, who are increasingly influential on both national and international stages. Among these prominent figures is Róisín Lafferty, an architect and interior designer renowned for her innovative and meticulously detailed interior architecture firm, House of Design. Lafferty’s portfolio spans a diverse range of projects, including private residences, hotels, unique work environments, spas, members’ clubs, and restaurants, with commissions extending across Ireland, France, Portugal, New York, Miami, and Saudi Arabia. Her distinctive approach involves creating bold, imaginative, and thought-provoking spaces, often incorporating unusual materials in unexpected ways. Her work has garnered recognition in prestigious publications such as *Architectural Digest*, *Elle Décor*, *Vogue Living*, and *THE GLOSS INTERIORS*. One featured project is the reimagining of a late-Georgian farmhouse. Initially a distinguished country residence that had suffered from unsuitable alterations, it presented an opportunity for comprehensive restoration. Lafferty’s firm undertook a two-year design process to transform the farmhouse, addressing the clients' specific request for an "industrial aesthetic." The project involved accentuating the building's original features while configuring and decorating a newly built extension that was an open shell. The result is an unconventional layout with an interior that seamlessly blends historical elements with contemporary industrial design. Another notable project highlights a new-build home on the coast of Ireland, characterized by its ambitious and contemporary design. Located in an area of Special Conservation, the 30-acre working farm site presented unique topographical challenges. Architect Allister Coyne of Ailtireacht was responsible for the initial architectural vision. Lafferty was brought into the project during the early stages of construction to integrate a forward-thinking interior design with the existing architectural framework. The objective was to create a minimalist yet harmonious living space that resonated with the raw beauty of the surrounding landscape, providing a calm retreat from the bustling activities of the on-site stables. A third project, dubbed the “2-in-1” house, involved transforming two separate semi-detached houses into a single, unified living space. A key aspect of this design was the requirement to maintain the possibility of easily reversing the transformation, allowing the property to revert to two separate homes in the future. Lafferty’s team meticulously designed all systems—including heating, sound, electrics, and mechanical—to function as a unified whole while ensuring they could be readily separated if needed. This innovative approach addressed the challenge of creating a flexible, future-proof home. Róisín Lafferty will further discuss her design process and showcase additional projects at a "Design Talk" event during Dublin Design Week. The event, held at Anantara The Marker Dublin on Tuesday, May 20, from 12 pm to 1:30 pm, will feature Lafferty in conversation with architect and broadcaster Amanda Bone. Tickets for this event are priced at €35, with a discounted rate of €20 for students, and can be booked through the Design Week Dublin website, which also provides the full program for the 2025 Dublin Design Week. #InteriorDesign #RóisínLafferty #DublinDesignWeek #ArchitecturalDesign #HomeRenovation #ContemporaryDesign #GeorgianFarmhouse #CoastalHome #SustainableDesign

London Design Festival 2025, in its 23rd edition, showcases a diverse array of installations, exhibitions, and products across the city, emphasizing design's role beyond aesthetics in driving innovation and societal progress. Festival Director Ben Evans highlights the event's commitment to supporting the entire design ecosystem, from emerging talent to established brands, and showcasing London's creative energy. The festival includes numerous district-wide events and installations at leading institutions such as the V&A and the Design Museum. Key highlights include 'Material Matters' at Space House, returning for its fourth edition with new materials like Mycoworks' mycelium-based products and recycled PVB film from FILIE Materials. The Brompton Design District, curated by Alex Tieghi-Walker with the theme 'A Softer World,' invites new voices and unconventional formats, featuring designers like Charlotte Taylor and Tione Trice across non-traditional exhibition spaces. British designer Paul Cocksedge's 'What Nelsons Sees' at Trafalgar Square provides a unique perspective of the city through telescopic viewing portals. Lee Broom's 'Beacon' at the Southbank Centre is a site-specific light installation using upcycled glass fragments to reinterpret classic street lamps into a sculptural chandelier. Max Radford Gallery collaborates with Ercol, commissioning London-based designers to reimagine traditional wooden furniture using rejected parts, displayed at the Clerkenwell Fire Station. The David Collins Foundation presents 'Convergence' at The Lavery, an exhibition celebrating its 40th anniversary and founder David Collins' vision, featuring works by eleven artists and designers. Aram and EcoLattice offer a sustainable alternative to foam with 'Beyond Foam,' commissioning designers to create furniture using EcoLattice's 3D-printed recyclable elastomers. 'A Seat at the Table' by Design Everything is a mobile furniture exhibition travelling in a Luton van, hosting community events with pieces by emerging UK designers. Ceramicist Emma Louise Payne's 'The Objects we Live By' transforms her childhood home into an exhibition space, showcasing crafted design pieces integrated into daily life. Heirloom studio's 'Out of Orifice' explores objects designed for the human body, from medical to pleasurable. Design London Shoreditch debuts with three exhibitions focusing on workplace design, sustainability, and interior trends, featuring prominent designers and brands. 'Otl Aicher: The Legacy Archive' at Wiedemann Lampe offers a rare glimpse into the legendary designer's work, including classic posters and unique pieces for sale. Industrial designer Terence Woodgate and automotive engineer John Barnard collaborate on 'Lightness of Form,' a collection using carbon fibre displayed at Carpenters Workshop Gallery. Finally, 'Reconstructing Value' at the Bank of England Museum features a sculptural installation made from reclaimed banknotes, complementing an exhibition on the Bank's architectural evolution. #LondonDesignFestival #DesignExhibitions #InteriorDesign #MaterialInnovation #SustainableDesign #PublicArtInstallations #EmergingDesigners #FurnitureDesign #ArchitecturalEvolution

Livingetc's 'Design, Directed' dinner series serves as a unique platform for fostering connections and exchanging ideas within the design community. These salon-style supper clubs are intentionally structured to be informal, bringing together a diverse group of creatives, including interior designers, muralists, textile makers, and brand leads. The objective is to facilitate genuine conversations about the evolving landscape of decor, trends, and the future of design, free from the conventional constraints of industry events like press conferences or formal pitches. This intimate setting encourages the formation of new relationships and collaborations among passionate professionals, all while enjoying curated culinary experiences. The most recent installment of the 'Design, Directed' series, organized in partnership with Farrow & Ball, took place at Gold in Notting Hill. The event's atmosphere was meticulously crafted to enhance the experience, featuring a long dining table adorned with soft, desert-inspired hues and striking sculptural floral arrangements by Calluna. Each place setting was thoughtfully completed with bespoke matchboxes from Compton Marbling, adding a touch of charm and bespoke craftsmanship to the evening. These details underscore Livingetc's commitment to creating an immersive and aesthetically pleasing environment for its guests. The success and impact of the 'Design, Directed' events stem from their carefully curated guest lists, which comprise influential designers, editors, and creatives whose work significantly shapes contemporary taste and design trends. The attendees at this particular dinner included prominent figures such as Pip Rich, Tiffany Duggan, Margot Tsim, Suzy Hoodless, Joa Studholme, Lonika Chande, Charlotte Cosby, Natasha Lyon, Dhilnawaz Khan, Jason Orme, Georgia Farey, Pandora Taylor, Ellen Merchant, Kate Guiness, James Waterworth, Sarah Spiteri, Skye McAlpine, Andrew Griffiths, Queenie Ingrams, and Jo Le Gleud. Sarah Spiteri, Global Brand Director and Group Editor-in-Chief of Livingetc, highlights that the series originated from the brand's mission to 'bring life to design,' emphasizing the creation of genuine friendships and a strong community rather than just organizing events. While not a formal product launch, the evening subtly celebrated Farrow & Ball's latest color collection. This new palette is characterized by understated yet rich and historically-inspired shades, derived from everyday objects that possess a familiar beauty. Pip Rich, Livingetc's Executive Editor, noted the natural synergy between the event and Farrow & Ball, building on existing conversations about new hues among designers. The elegant tablescape naturally led to discussions about specific colors, such as Dibber, an earthy green reminiscent of aged garden tools, and Duster, a golden hue perfected over time. Marmelo, a deep, buttery orange, garnered particular admiration, with Joa Studholme likening its familiarity to morning toast. The enduring nature of the conversations and the reluctance of guests to depart served as a testament to the event's success. Even after the meal concluded, discussions continued, ideas were exchanged, and potential collaborations quietly began to form. This outcome aligns perfectly with the core philosophy of 'Design, Directed': to be a dynamic, salon-style gathering where leading figures in design can engage in meaningful dialogue, challenge perspectives, and enjoy themselves in an environment that fosters creativity and connection. The series aims to transcend the typical industry gathering, offering a more profound and enjoyable experience for all participants. #DesignDirected #InteriorDesign #FarrowAndBall #DesignCommunity #CreativeNetworking #ColorTrends #LuxuryDining #DesignInnovation #NottingHillEvent

The fashion brand Peter Pilotto, known for its vibrant and intricately embroidered clothing, has expanded its creative vision into the realm of home design with a three-storey takeover of a townhouse in Cromwell Place, South Kensington, London. This initiative is part of the Brompton Design District’s ‘Other Stories’ for the London Design Festival. The pop-up space, which includes elements of a gallery, a vibrant home, and a showroom, is an extensive iteration of a temporary space the brand previously opened nearby. Central to this installation are the colourful ‘Arnold Circus’ stools by Martino Gamper, a long-time collaborator and friend of the brand. These angular stools, originally featured in Peter Pilotto’s A/W 2017 show, are now available upholstered in the brand's distinctive fabrics, bridging the gap between fashion and furniture. The pop-up features an eclectic assemblage of exclusive designs from a host of artists and designers, reflecting the brand's personal inspirations and collaborations. The curated two-room space showcases furnishings previously seen in Peter Pilotto’s A/W 2017 runway show, which was inspired by domestic interiors. This includes a triptych of paintings by Peter McDonald, a geometric print sofa designed by Bethan Laura Wood, and colourful tufty rugs by Max Lamb. Co-founder Peter Pilotto explains that the installation aims to share the inspirations that surround them and their brand, replicating the feeling of being in their friends' homes or studios. The South Kensington installation also features a large dressing room with colour-blocked mannequins, clothes hangers, and fabric screens. The third floor displays the brand’s A/W 2017 collection, which includes embroidered tweed outerwear, velvet dresses with leaf details, and knitwear adorned with Peruvian motif patches. These fashion pieces are interspersed with artworks and furnishings by McDonald, Lamb, Wood, and Schmid McDonagh. Further enriching the space are delicate vases and jugs by glassblower Jochen Holz, who also designed a range of organic curving earrings for the brand’s current collection. Hand-knotted rugs made by artisans in Ecuador and graphic blankets spun from recycled yarns from previous collections also contribute to the eclectic decor. Artist Francis Upritchard, a long-term collaborator, created the ceramics displayed throughout the space. Upritchard has previously collaborated with Peter Pilotto on scarves and incorporated her illustrations into the brand’s S/S 2017 collection. The decision to integrate catwalk details into more permanent settings stems from Peter Pilotto’s desire for longevity beyond fleeting show sets. The space demonstrates how design elements can be translated into different, more enduring applications. Martino Gamper, a frequent collaborator, highlights the conversational and collaborative nature of their work, where Peter and Christopher infuse their sensibility into his designs. The project underscores the brand's appreciation for the slower, more considered pace of the design world, contrasting it with the rapid seasonal cycle of the fashion industry. The founders emphasize the importance of London's supportive creative community, fostering a continuous exchange of ideas and mutual interest among designers. #PeterPilotto #LondonDesignFestival #TownhouseTakeover #MartinoGamper #InteriorDesign #FashionMeetsDesign #CreativeCollaboration #TextileArt #BethanLauraWood

Cuff Studio, based in Los Angeles, has unveiled its Common Ground collection of furniture and lighting as part of the Virtual Design Festival (VDF) x Sight Unseen collaboration. This collection is featured in Offsite Online, a virtual exhibition curated by Sight Unseen, a digital magazine focused on contemporary design. The Common Ground series includes two tables, a bench, an armchair, and a light, all designed to showcase the studio's distinctive design philosophy that merges angular, architectural forms with playful, feminine elements. The studio's co-founder, Kristi Bender, explains that Cuff Studio consistently integrates curves and edges, formality with casualness, and femininity with a sense of 'testosterone' into their designs. This approach is evident in the Arc bench, chair, and console table, which incorporate the classic architectural arch. For the seating designs, this typically masculine architectural element is softened by luxurious leather or pink velvet upholstery. The Arc console table, while possessing a solid volume, features brass-filled channels that allow light to pass through and hand-chiselled grooves on its exterior, providing an organic counterpoint to its geometric shape. Another piece, the Paddle table, modernizes a traditional material, solid oak. The oak is bleached to achieve a clean white tone, and its thick edges are rounded, giving it a playful, substantial silhouette. The Five Track Surface Light, conversely, utilizes a flexible material—rope—which is meticulously wrapped around a rigid, tubular frame. This light fixture can be installed on walls or ceilings and is available in natural white cotton, as well as a variety of other colors. Wendy Schwartz, the other half of Cuff Studio, emphasizes that the collection aims to demonstrate how contrasting design elements can coexist harmoniously, reflecting a broader message of unity. The studio believes that the creative process can bring people together, particularly in a world marked by political polarization. The Common Ground collection was initially launched in early 2020 at the duo's new studio in Hollywood. This launch was intended not just for press or buyers but as a celebration with fellow makers and artisans, fostering in-person connections within the design community in Los Angeles. This initial gathering highlighted the value of direct interaction and shared passion among creatives. #FurnitureDesign #LightingDesign #CuffStudio #VirtualDesignFestival #SightUnseen #InteriorDesign #ContemporaryDesign #ProductLaunch #DesignPhilosophy

This blog post features an interview with Dana Romeis, the managing principal at Castle Design, who brings over 25 years of experience to the design industry. The interview delves into various aspects of her work, offering insights into her design philosophy, challenges, and preferences. Romeis emphasizes that client input is highly valued in her design process, stating that the best outcomes result from collaborative relationships between the client, designer, and contractor. She highlights the importance of open communication and mutual understanding in achieving successful design projects. When asked about local artists, Romeis expresses her admiration for Charley Blood of Charles Blood Artistic, particularly for his trompe l’oeil work. She praises his willingness to tackle any artistic challenge, noting that he has never refused a request, no matter how complex. This appreciation for skilled craftsmanship and creative problem-solving underscores her professional values. Regarding overlooked spaces in a home, Romeis identifies the guest bedroom as the most frequently under-decorated room, sometimes including the powder room. She sees the powder room as an opportunity for creative expression and urges clients to pay attention to details in guest bedrooms, such as providing comfortable seating, reliable Wi-Fi, and convenient luggage storage. Her advice extends beyond aesthetics, focusing on practical functionality and guest comfort. Romeis discusses the diverse challenges encountered in her career, stating that every project offers a new learning experience. These challenges can range from integrating home automation systems into overall designs and resolving construction issues to navigating interpersonal dynamics with clients. She highlights the importance of understanding client patience levels and interpreting body language to ensure their wishes are met. This adaptability and continuous learning are central to her professional development. Finally, Romeis shares her preference for alternating between designing new builds and renovating historic homes. She finds that variety keeps her creativity and energy levels high, preventing her from falling into "cookie-cutter solutions." This desire for diverse projects reflects her commitment to innovative and unique design solutions, ensuring each project remains fresh and engaging. The interview concludes by referencing the St. Louis At Home November/December 2017 issue, suggesting that this discussion provides a glimpse into the broader trends and insights within the local design community. #InteriorDesign #HomeDesign #DesignInterview #ClientCollaboration #DesignChallenges #DanaRomeis #CastleDesign #StLouisDesign #CreativeProcess

This article features an interview with Grania Murray, an interior designer with over 25 years of experience, originally from Ireland and now based in Los Angeles. Murray emphasizes that clarity is the most crucial factor behind her success. She specializes in guiding clients through complex design decisions with a sense of calm and clear direction, helping them navigate the often overwhelming process of building or renovating spaces. Her professional approach focuses on simplifying complicated choices, allowing clients to move forward with confidence in their projects. Murray's dedication to providing clarity in design became deeply personal after the devastating LA wildfires, which led to her daughter and daughter-in-law losing their home. Witnessing their struggle with loss, bureaucratic hurdles, and a multitude of decisions highlighted the critical need for guidance during such challenging times. This experience inspired her to create "The Design Align," a service that offers high-level, strategic support to clients before they commit to potentially costly decisions. This initiative focuses on helping clients understand the broader picture and establish a clear foundation for their projects, demonstrating her commitment to making design accessible and less daunting. While she continues to run a full-service interior design studio, The Design Align represents a significant and proud expansion of her work, driven by a desire to share her extensive knowledge and experience. Murray credits Jane McDonnell, Co-Founder and Publisher of The Gloss Magazine and Co-Founder of DESIGN WEEK DUBLIN, for playing a pivotal role in her career. McDonnell saw Murray's home design in Ireland, suggested she pursue interior design professionally, and subsequently featured her work in an article. This feature led to Murray acquiring her first clients, effectively launching her career in the field. Murray reflects on her childhood passion for rearranging furniture, highlighting an innate inclination towards understanding how spaces feel. She views design as a means of making sense of the world, emphasizing the blend of form and function to create spaces that evoke a sense of "home at last." Her design philosophy involves mixing old and new elements, incorporating art, vintage finds, handmade pieces, and clients' existing treasures to achieve unique and personal interiors. What truly distinguishes Murray's work is not just the aesthetic but the comprehensive client experience she provides. Her approach is described as strategic, empathetic, and deeply attuned to fostering comfort and stability within a space. She prioritizes listening to her clients and making choices that align with her values, particularly concerning sustainability. She acknowledges facing challenges like dry spells, unsuccessful detours, and the difficulties of relocating to Los Angeles and starting over. However, her resilience and quiet determination have been constant driving forces. Murray advises that one does not need all the answers but rather needs to focus on what matters most and act accordingly. She believes that great design stems from clarity—understanding a space's purpose, aligning it with practical considerations like budget, timing, and emotional connection, and allowing beauty to emerge naturally. She also shares a favorite quote by Paulo Coelho: "When you want something, all the Universe conspires in helping you achieve it," reflecting her belief in universal support for one's aspirations. Murray concludes the interview by sharing recommendations for visitors to Los Angeles, drawing from her diverse experiences living across the city. Her suggestions include day trips to Lake Arrowhead for its lake and brewery, and Santa Ynez for wine tasting, with Buttonwood being a favorite spot. She also recommends scenic drives along the Pacific Coast Highway to experience classic LA coastal vibes. For morning or afternoon activities, she suggests visiting The Huntington Gardens and The Norton Simon Gallery in Pasadena, and taking a clay class at Green & Bisque in Pasadena. For dining, she highlights Star Leaf (Asian Fusion) and Redbird (Downtown LA), and mentions Los Felix as an all-time favorite. For drinks, The Pasadena Hotel is recommended, and for entertainment, she enthusiastically suggests Blah Blah Karaoke and any show at The Pantages. #InteriorDesign #GraniaMurray #DesignPhilosophy #ClientClarity #TheDesignAlign #CareerJourney #LosAngelesDesigner #Resilience

Henry Holland, a prominent figure initially known for his contributions to the fashion industry, has successfully transitioned into a ceramics artist, establishing Henry Holland Studio. This article delves into his creative journey and the diverse influences that have shaped his distinctive style, characterized by boldness and playfulness, which he views as a direct reflection of his personality. Holland emphasizes the role of clothing and home decor as forms of self-expression. His artistic inclination was evident from a young age, with teachers recognizing his creativity and early entrepreneurial endeavors like starting a Christmas card business. His mother served as a significant source of inspiration, fostering his creativity and exhibiting a strong sense of style. The profound impact of her loss over a year ago compelled him to actively seek joy in his work, as he believes sadness hinders his creative output. Presently, his inspiration primarily stems from his friends, family, and husband, as he is drawn to human stories and enjoys weaving narratives into his characterful ceramic and homeware designs. Moving to London from Northern England marked a pivotal moment in Holland's development, where he recognized the importance of taste and personal style amidst the city's diverse cultural landscape. His career path has been serendipitous; he initially pursued journalism but found himself drawn to fashion through a hobby that quickly evolved into a brand. Similarly, his foray into ceramics during the pandemic began with lessons and organically grew into his current studio. He highlights the unexpected synergies between the fashion and homeware industries, noting that his fashion background provided invaluable business training, and he now appreciates the more relaxed pace of the homeware sector. Travel has also played a crucial role in shaping his creative vision. Childhood experiences in the French countryside, accompanying his parents to antique markets, exposed him to various design periods, from art deco to mid-century modern. This early exposure instilled a deep appreciation for diverse aesthetics. He is an avid collector of Richard Bernstein's *Interview* magazine covers from the 1970s and 80s, valuing them as miniature pieces of pop culture history that illustrate the nascent intersection of fashion, culture, and celebrity. His most cherished item is a Debbie Harry cover signed by Andy Warhol and Truman Capote. While not an extensive reader, Holland finds value in self-help and spiritual guides, citing Eckhart Tolle's *The Power of Now* as particularly impactful. He also utilizes Blinkist to access condensed book summaries, a testament to his admitted impatience. Film, specifically costume and set design, provides another rich source of inspiration. He admires Baz Luhrmann's visually striking films, particularly *Romeo & Juliet*, and often references 1990s teen movies like *Clueless*, *Hackers*, and *Empire Records* in his fashion work. His musical tastes lean towards 90s pop, influenced by his first job at *Smash Hits* magazine, and he enjoys sharing these playlists with his studio team. Despite not being a keen cook, he hopes a forthcoming kitchen renovation will spark culinary creativity, though he prefers dining out. His favorite restaurant is Brat in London, known for its exceptional food and cocktails and its chef, Tomos Parry, whom he considers a friend. Holland expresses admiration for numerous contemporary creatives. He acknowledges the challenges faced by professional creatives and values the heart and soul they invest in their projects. He is particularly impressed by Es Devlin's set design and fellow ceramicists like John Booth, whose vibrant use of color he appreciates, and Alma Berrow for her humor. He also follows Christabel MacGreevy's transition into ceramics and is a significant admirer of Dirk Vander Kooij's work, especially his innovative use of recycled plastic materials, exemplified by a Melting Pot dining table that represents their first significant home investment. #HenryHollandStudio #InteriorDesign #CeramicsArt #CreativeInspiration #FashionToHomeware #PopCultureInfluence #TravelInfluence #DesignPhilosophy

This article features an interview with Mary Graham and Nicole Salvesen, co-founders of the interior design firm Salvesen Graham, renowned for their classic-meets-contemporary aesthetic. The discussion centers around the launch of their debut book, ‘A New English Style: Timeless Interiors by Salvesen Graham,’ offering insights into their design philosophy, sources of inspiration, and fundamental style principles. The designers reflect on the book's creation process, noting that it prompted a deeper consideration of their client work, their evolution as a practice, and their aspirations for growth. They emphasize that English style is inherently dynamic, characterized by ongoing change and the layering of new elements onto existing structures. The process also allowed them to revisit earlier projects, confirming the enduring quality of their initial designs even after a decade. Addressing the balance between English style's rich legacy and contemporary relevance, Salvesen and Graham explain that they always begin by examining the building itself. This approach helps identify traditional elements to be preserved, restored, and celebrated, guiding the overall design direction. They stress that homes should be vibrant and lived-in, not static museums. To inject modernity, particularly in traditional settings, they prioritize personal belongings such as artwork, books, and object collections. They highlight the impact of combining a formal drawing room with a striking piece of contemporary art as a central feature. Regarding the influence of location and setting, the designers assert that the essence of English style is not geographically confined. It can be successfully applied globally, adapting its unique character to each new environment. They liken this adaptability to how each project differs based on individual client preferences. The core of their approach lies in the 'spirit of decorating,' which encompasses layering, incorporating antiques, and prioritizing comfort, rather than being dictated by a specific setting. Layering is a fundamental aspect of their style, and they advise confidence in its execution, suggesting that more layering often leads to better results. They advocate for a mix of patterns and plains, alongside a variety of textures, to achieve depth in a room. For instance, the light-absorbing quality of thick cotton velvet can effectively contrast with a light-reflecting chintz. They clarify that layering extends beyond fabrics to include all elements of a room: flooring, lighting, art, books, and the tones and finishes of paintwork. The aim is a considered, not necessarily fussy, aesthetic. The designers emphasize the critical role of antiques in grounding a room and imparting authenticity, advocating for pieces with clean lines and excellent proportions, whether a 1970s glass lamp or a Georgian center table paired with a modern pendant light. They advise a gradual approach to incorporating antiques, adding pieces over time until a personal balance is achieved. Their approach to color involves strategic splashes in unexpected places within traditional spaces, such as inside a larder cupboard or at the end of a corridor. They acknowledge a contemporary conservatism regarding color in homes, contrasting it with historical periods that embraced more vibrant palettes. Often, they derive color inspiration from a favorite patterned fabric, extracting various hues and applying them with differing intensities to establish a room's identity. The designers confess to occasionally bending conventional design rules in their own homes, particularly regarding pragmatic considerations like heating requirements, prioritizing aesthetics over strict guidelines. They also take a relaxed stance on rules concerning wall light height or furniture spacing, believing that comfort and intuition are paramount. Living with their own interiors has reinforced the importance of quality design and craftsmanship. They note that well-made, classic pieces provide a stable foundation around which styles can evolve, allowing accessories, artwork, and furniture coverings to change while the room's essential structure remains. This concept of 'getting the bones right' applies to architectural details, room layouts, and investment pieces. They draw a parallel to fashion, where a timeless core allows for subsequent embellishment. The concept of 'Future Heritage' means creating interiors that honor and draw inspiration from the past while integrating modern aesthetics, technologies, and lifestyles. Their designs aim to bridge historical elements with contemporary innovations, yielding interiors that are both timeless and forward-looking. Ultimately, they hope their book offers readers a versatile, approachable, and accessible guide, encouraging them to celebrate heritage without being constrained by tradition, and to confidently infuse their homes with personal expression. #InteriorDesign #SalvesenGraham #EnglishStyle #FutureHeritage #TimelessInteriors #DesignInspiration #HomeDecor #Layering #Antiques

Interior Design's Giants and Rising Talent event commenced in Encinitas, California, bringing together established and emerging designers. The three-day event, hosted at the Alila Marea Beach Resort for the second consecutive year, began with a welcome by Editor-in-Chief Cindy Allen. A key highlight of the opening night was a discussion between Tom Kundig, principal and founder of Olson Kundig, and Douglas Keane, owner and chef of Cyrus Restaurant, a project designed by Kundig's firm. Cindy Allen emphasized the importance of gathering the design community, particularly highlighting the blend of seasoned "Giants" and promising new talent. She introduced Tom Kundig as a career hero, acknowledging his ability to translate his unique vision into reality. Kundig, however, shared that his journey wasn't always straightforward, stressing the importance for young designers to find their niche and commit to it. He recounted his professional relationship with Jim Olson, the firm's founding partner, likening their dynamic to the trust and reliance essential in mountain climbing. This profound trust allowed the firm to develop a client-focused model. Olson Kundig's foundation in residential design provided a deep understanding of human needs. Kundig explained that residential projects, which address fundamental requirements like shelter, offer insights applicable to larger-scale endeavors. The firm's portfolio now spans diverse projects, including museums, educational institutions, and hospitality spaces such as Cyrus Restaurant, known for its innovative philosophy. The discussion then shifted to the design of Cyrus Restaurant, with Douglas Keane joining the stage. Keane, with two decades of experience in the restaurant industry, aimed to create a dining experience in Napa Valley that mimicked a dinner party, allowing guests to move through various rooms. He also sought to establish a comfortable environment for staff, addressing common industry challenges like high turnover and working conditions. Kundig highlighted his team's open-minded approach to the project, emphasizing that they prioritized Keane's vision and the specific context of the 1930s warehouse and vineyard setting rather than imposing preconceived ideas. He stated that being sensitive to these elements, rather than working in a silo, leads to extraordinary outcomes. The resulting restaurant space is described by Keane as a dream realized, fostering connection by blurring the lines between chefs and guests, including an immersive kitchen experience. Kundig encouraged young designers to pursue their own passions, advising them not to emulate others but to follow their inner calling. Allen concluded by praising Kundig and Keane for their human-centric approach to design, setting the tone for the event's subsequent discussions on architecture and humanity. The article also mentions future coverage of event highlights, including industry trends and insights. #InteriorDesign #Architecture #DesignEvent #TomKundig #OlsonKundig #CyrusRestaurant #HospitalityDesign #ResidentialDesign #DesignPhilosophy

Draga Obradovic and Aurel K. Basedow, known as Draga & Aurel, are a design duo celebrated for their artistic approach to materials and composition, drawing influences from fashion to traditional craftsmanship. They are pioneers in upcycling, having started their journey by reinventing furniture and objects. An early open studio event, where people brought old furnishings for reinvention, quickly grew into a significant venture, leading them to establish Draga & Aurel in 2007. Their multidisciplinary studio and workshop focus on art, collectible design, and furnishings. Their debut at Milan Design Week two years later initiated collaborations with brands like Baxter, a partnership that continues to influence their design philosophy. According to Basedow, Baxter was instrumental in professionalizing their design approach. A significant milestone in their career was the launch of the Transparency Matters collection in 2019, which marked a departure from their earlier focus on vintage items and textiles. This collection utilizes resin as the primary material, valued for its interaction with light, and is continuously updated. Obradovic draws inspiration from everyday visual stimuli, capturing images to create mood boards that fuel her imagination. For their "Friday Five" feature, Draga & Aurel share five key inspirations. The first is artist Dan Flavin, whose work on light and color deeply resonates with their own. They admire his ability to transform a common object, the neon tube, into sophisticated art with a "maximalist" effect, despite its minimalist origins. They highlight a recent exhibition "Dedications in Lights" at the Kunstmuseum Basel, one of their favorite museums, and note a permanent installation in its yard. Secondly, they express their appreciation for Superduper, a "Made in Italy" brand from Florence known for its handmade hats. They are drawn to the brand's fresh, creative, and informal style, emphasizing that hats are essential accessories for both of them. Their third inspiration is Joseph Beuys, a German artist and sculptor and a significant figure in conceptual art. His quote, "Jeder mensch ein Künstler" (everyone is an artist), profoundly influenced their approach to painting and their belief in the universal expression of creativity. Beuys is also a reference point for expanding the meaning of art. The fourth point of inspiration is The Venice Venice Hotel. They describe Venice as a city that continually surprises them with its beauty. The hotel, housed in the renovated Ca’ da Mosto Palace overlooking the Rialto, is a synthesis of architecture, fashion, art, and design, showcasing influential avant-garde movements. It is an evocative place owned by the founder of Golden Goose. Finally, their fifth inspiration is their hometown, Lake Como. They find constant inspiration in this historic town, appreciating the peace, relaxation, and freedom the lake offers, particularly enjoying sailing and discovering hidden coves and villages. They feel fortunate to live in such a beautiful place. The article also showcases some of Draga & Aurel's works. The "Flare Collection," an exclusive project for Todd Merrill Studio, explores color and light refraction through Lucite, an acrylic resin. This collection is inspired by Jiyong Lee's study of color's three-dimensionality and Vasa Mihich's acrylic sculptures, focusing on the concepts of composition and breakdown of matter. It premiered at Design Miami in 2023. Their exhibition "Per Speculum in Aenigmate," in collaboration with Contemporary Cluster at Palazzo Brancaccio, Rome (2022), highlighted the dialogue between Aurel K. Basedow’s pictorial works and the duo's iconic design pieces. The exhibition title, drawn from a biblical passage, focuses on "mirror" and "enigma," reflecting their practice of material experimentation, artistic creativity, function, and aesthetics. The "Heritage collection" consists of one-of-a-kind upcycled pieces, born from their passion for vintage items. They collect original vintage furniture from thrift shops and markets, then reinvent them using techniques such as screen printing, embroidery, and resin covering, drawing from their backgrounds in fashion, textiles, art, and graphic design. Each item is restored in their Como atelier. Lastly, "The power of lighthearted design – Exhibition “Tinted Hues” at Nilufar, 2024" is a collaboration with Nilufar gallery, featuring a capsule of playful objects. This collection emphasizes resin, rounded shapes, and pastel shades, exemplified by their Bon Bon lamps, Dewdrops coffee tables, and Glaze table. #DragaAurel #DesignStudio #UpcyclingDesign #MilanDesignWeek #TransparencyMatters #DanFlavin #JosephBeuys #LakeComo #CollectibleDesign

Helsinki Design Week 2024, themed 'Underneath,' highlighted Finland's integral approach to design within everyday life, emphasizing a surge of progress driven by design innovation in the capital. The event, held from September 6 to 15, showcased a variety of design-related initiatives and developments across Helsinki. Beyond traditional trade fair exhibits, the week featured explorations of architectural landmarks, including new projects by notable architects like Steven Holl, alongside innovative urban developments such as a new hotel and headquarters predominantly constructed from wood for the forestry company Stora Enso. Discussions also revolved around the planned redevelopment of Helsinki's old harborfront into a new museum quarter, spearheaded by an architectural competition for a Museum of Design and Architecture. The event also served as a platform to introduce new creative directors of established Finnish design brands, signaling a vibrant and forward-looking design landscape. The article touches upon the broader Finnish societal context, noting the country's high ranking in global happiness surveys and highlighting unique social provisions such as free, state-funded hot meals for children under 16 during summer holidays, and an extensive underground tunnel system designed to shelter the entire urban population during a catastrophe, complete with essential services and amenities for three years. While acknowledging these remarkable social aspects, the piece also addresses the economic challenges facing Helsinki, particularly in its tourism sector due to geopolitical events and the impact on air travel, which has affected the city's role as an Asian transit hub. Despite these hurdles, a director from the digital design agency Reaktor explained Finland's agile transition from manufacturing to a technology-driven economy, positioning the country as a laboratory for brand development. Key highlights from Helsinki Design Week 2024 included a significant focus on education and research at Aalto University. The university, formed by the merger of business, technology, and design institutions, inaugurated a new building dedicated to AI, augmented reality, brain research, and communication. Its 'Designs for a Cooler Planet' exhibition showcased student work on sustainable solutions, such as textiles made from recycled banknotes, alternative packaging, and wood-based sequins, underscoring the university's role as a future-oriented research hub. Iittala, under its new creative director Janni Vepsäläinen, presented a captivating 'Kaamos' exhibition, featuring ten monumental glass sculptures that explored the interplay of light and glass, celebrating the brand's heritage while embracing a dynamic future. The Helsinki Design Museum, recently merged with the Museum of Finnish Architecture, hosted 'FIX: Care and Repair,' an exhibition that thoughtfully examined the cultural impact of maintenance and repair on belongings and buildings, coinciding with plans for a major new design and architecture museum. Further enriching the design week was the Finnish Design Shop's launch of its own-brand collection, 'Pelata,' celebrating its 20th anniversary with a range of playful wooden objects for children and adults, emphasizing engagement over mere aesthetics. The Habitare trade fair, while primarily serving the Finnish market, showcased emerging talents like Myceen, which explores mycelium as a building material, and Teemu Vidgren, who reinterprets traditional Finnish vernacular objects. Lastly, the upcoming Ruoholati Playground, a collaboration between children's author Linda Liukas and Helsinki's chief design officer Hanna Harris, was introduced as the world's first computer-themed playground. This innovative space aims to demystify digital culture for children through interactive play, aligning with Alvar Aalto's philosophy of learning through engagement. #HelsinkiDesignWeek #FinnishDesign #DesignInnovation #SustainableDesign #AaltoUniversity #Iittala #HelsinkiDesignMuseum #UrbanDevelopment #PlaygroundDesign #Architecture

Dublin Design Week, an inaugural event, is set to highlight the contributions of Irish architects and interior designers to both national and international design. The event aims to showcase the significant global influence of Irish designers. One notable figure participating in this event is Maria MacVeigh, an architect and interior designer. After gaining experience in Spain and Chile, MacVeigh established MMV Design in Dublin in 2004. Her design philosophy emphasizes a rigorous process, detailed construction, and the careful selection of materials and finishes, which is reflected in her sophisticated and award-winning interiors. She has a history of collaboration with experienced professionals in the building industry, contributing to her extensive knowledge in the field. Among her distinguished projects is the interior design of Chapter One, a renowned restaurant in Dublin. For this project, MacVeigh meticulously handled every detail, from the specific green-bronze paint on the walls to the various natural stones utilized throughout the space. Chapter One is designed to offer an intimate dining experience, featuring a main area with several nooks, including a secluded demi-salle. A chef’s table is also part of the design, where diners can observe the culinary process from a semi-circular banquette. A central, sculptural marble-topped piece with an integrated induction hob serves as a focal point in the dining room, housing the Gaggenau Experience, which allows guests to witness fine dining preparations up close. The kitchen itself is a display of aesthetic design, featuring stainless steel, deep brown walls, a basalt table, oxblood floor, and green marble worktops. Chapter One undergoes an annual refresh, during which MacVeigh's focus extends to transforming areas like the cloakrooms. Maria MacVeigh's design approach is characterized by a commitment to timelessness, understated elegance, and personalization, moving away from transient trends. This philosophy was evident in a renovated 1950s home project, where she collaborated with her sister. The design aimed to encapsulate the essence of their family home, with a plan that maximized natural light. The project drew inspiration from mid-century modern aesthetics, not only as a homage to their upbringing but also to complement the architectural character of the surrounding neighborhood. Another significant undertaking involved the restoration of a Victorian redbrick property. This project presented the dual challenge of historical preservation and the integration of a contemporary extension and a new kitchen. For this, MacVeigh partnered with Eoin Lyons of LyonsKelly. Lyons, whose expertise lies in finishes, complemented MacVeigh's strengths in architecture, interiors, and fine detailing. Maria MacVeigh is scheduled to participate in a Design Talk at Anantara The Marker Dublin on Thursday, May 22, from 12 pm to 1:30 pm. During this event, she will engage in a conversation with architect and broadcaster Amanda Bone, where she will discuss how her dual professional background provides her with a distinctive perspective on design. Tickets for this event are priced at €35, with a reduced rate of €20 for students. #MariaMacVeigh #InteriorDesign #Architecture #DublinDesignWeek #ChapterOneRestaurant #HomeRenovation #VictorianRedbrick #DesignPhilosophy #AmandaBone

Laura Kirar, an internationally acclaimed American-born, Mexico-based interior and product designer, shares insights into her unique style, diverse inspirations, and creative process. Her design philosophy emphasizes the combination of raw materials with her deep understanding of art, architecture, fashion, and music. Kirar’s early influences stem from her upbringing in Chicago, where she was exposed to significant art and architectural collections, including works by Daniel Burnham, Louis Sullivan, Mies van der Rohe, Frank Lloyd Wright, Brancusi, Georgia O’Keeffe, René Magritte, and Salvador Dalí. These foundational experiences shaped her perspective, leading her to view furniture as sculptural objects and spaces as canvases for human experience. Kirar's passion for both art and architecture guided her career choice. She describes her approach as abstract, knowing when to adhere to design principles and when to innovate. The ability to create environments where lives unfold is a powerful motivator for her. Her current inspirations include contemporary artists, fashion designers, and musicians such as Peter Zumthor, David Wiseman, Milena Muzquiz, Monica Rezman, and Marcela Diaz. She expresses a particular fondness for coral pink in all its hues, describing it as luminous and soothing, suitable for various applications from walls to textiles. Travel plays a significant role in Kirar's inspiration, leading her to discover unique shops worldwide. In Mexico City, she frequents Trouve for vintage items. New York offers Les Atelier Courbet, The Future Perfect, and Artemest. In London, she highlights The Carpenters Workshop Gallery at Ladbroke Hall, and in Paris, Pierre Frey for textiles, along with various antique and vintage markets like Marche Biron. Mexico itself is a profound source of inspiration, influencing her sense of color, scale, and textures, and fostering her appreciation for traditional crafts found in its mountains, valleys, and cities like Oaxaca and the Yucatan. Kirar is also a passionate collector, believing that artists benefit from surrounding themselves with inspiring objects. Her collections include vintage chairs, ceramics, pottery, art books, hand-woven textiles, vintage cowboy boots, and silver Navajo accessories, all chosen for their stories. She recently acquired her fourth art piece by Cisco Jimenez, suggesting a new collection in the making. Her personal art collection includes a Cindy Sherman photograph, which has inspired the palette for an entire room. Beyond visual arts, Kirar finds inspiration in film, particularly through MUBI, enjoying classic films, film noir, thrillers, and sci-fi. She also has eclectic musical tastes, ranging from The Cure to opera, classical, rock, punk, and jazz, appreciating the intimacy of live performances. Among her extensive product designs, which number over a thousand, she favors the Mar floor lamp and Vargueno chair from her collection with Arteriors. Her Vir Stil and Paletta bath collections for Kallista have been bestsellers for two decades, and her Caviar chandelier for Arteriors has consistently topped its bestseller list since 2010. Kirar also enjoys cooking, drawing on her Italian heritage to create dishes like pici al limone with sautéed radicchio. She also puts a contemporary spin on traditional Mexican chiles rellenos. Her philosophy is that cooking can be spontaneous and creative, often improvising with available ingredients. This reflects her broader approach to design and life – a blend of diverse influences, personal passion, and creative adaptation. #InteriorDesign #ProductDesign #LauraKirar #CreativeProcess #ArchitecturalInfluence #ArtInspiration #MexicanCrafts #DesignPhilosophy #GlobalTravel

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