Talking with Sybil Domond and Dan Lessin about Greenpoint, Up-Cycling Design, and Day Beds

The article highlights six innovators in Denver who are using design ideas to address problems and foster significant developments within the city. These individuals and firms represent diverse fields, including real estate development, museum direction, furniture design, and home technology, all contributing to Denver's evolving aesthetic and functionality. Mike Blea and Breton Lujan, co-founders of Raw Creative, are presented as pioneers in a comprehensive design-build-fabricate model. Their firm handles architectural design, construction, and custom furnishing fabrication, creating unique commercial spaces like Señor Bear and Morin restaurants. Their integrated approach allows them to maintain control over design concepts, pushing boundaries that might challenge others unfamiliar with fabrication. They emphasize their hands-on involvement, from architectural planning to the actual building process, which they find rewarding. The co-founders recall solving budget constraints at Table 79 by manipulating inexpensive materials to achieve a high-end Scandinavian look and meticulously designing hair-cutting stations for Elle.B Salon Central based on observed stylist movements. Looking ahead, Raw Creative is exploring micro-housing concepts to address Denver's affordability issues and expanding into residential projects, focusing on modest, comfortable, and sustainable designs, particularly in areas like Aspen. Alex Capecelatro, co-founder and CEO of Josh.ai, introduces Josh, an AI-powered home assistant designed to understand natural human speech and control home automation systems. Unlike other voice assistants, Josh integrates advanced intelligence to monitor various home aspects, including energy usage, weather patterns, and even specific room locations to tailor responses. Josh Micro, the hardware component, is designed with aesthetic appeal, featuring a concave shape inspired by Richard Serra sculptures and an invisible LED ring that indicates listening and touch controls. The device primarily processes data locally, ensuring customer privacy. Capecelatro envisions future home technology focusing on health and wellness, with products monitoring indoor air quality, water quality, and sleep patterns to improve residents' lives. Jonathan Alpert, a partner at Westfield Company, discusses his firm's contributions to Denver's development, including the Mission Ballroom, Stanley Marketplace, and S*Park, a sustainable condo community with an urban farm. He explains how Westfield Company collaborated with AEG to develop the Mission Ballroom as part of the larger North Wynkoop project, which includes offices, retail, and future residential and hotel components. Alpert defines sustainable development as encompassing environmental, social, and economic viability, exemplified by S*Park's urban farm. He acknowledges the challenges of Denver's growth, particularly regarding housing affordability, and advocates for public-private partnerships, expedited permitting for affordable housing projects, and increased efforts to build more financially viable affordable homes to ensure Denver remains an inclusive and thriving city. Nora Burnett Abrams, the new director of the Museum of Contemporary Art Denver (MCA), shares her vision for the institution. Having previously worked at prestigious New York museums, Abrams highlights Denver's unique culture of risk-taking and entrepreneurial spirit, which allows for greater artistic experimentation. She aims to build upon MCA's strong foundation, prioritizing support for local artists and expanding outreach to teen and young adult audiences, offering free admission for teens. Abrams also plans to embed the museum more deeply within the city through partnerships with other organizations, exploring topics beyond aesthetics, such as environmentalism, social justice, and mental health. She envisions MCA as a versatile space for both social gatherings and intellectual discovery, fostering curiosity and appreciation for contemporary culture. Richard Shirtcliffe, co-CEO of Noho, a Boulder and New Zealand-based furniture company, details his innovative approach to furniture design rooted in sustainability and human physiology. Motivated by the pervasive plastic pollution in oceans, Shirtcliffe co-founded Noho to create good-looking furniture from sustainable polymers and upcycled ocean plastic. His collaboration with Formway, a company known for dynamic comfort in commercial furniture, led to the development of chairs that support blood flow and improve cognitive function. Their first product, the Move Chair, is designed to flex and move with the body, made from repolymerized plastic, and features interchangeable wool toppers. Shirtcliffe emphasizes Noho’s mission to build a thriving business that positively impacts the world and individual well-being, starting with significant steps towards addressing environmental challenges through commerce. #DenverDesign #ArchitecturalInnovation #SustainableDevelopment #HomeAutomation #UrbanPlanning #ContemporaryArt #FurnitureDesign #AffordableHousing #CircularEconomy

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

Design Week Dublin, an event co-founded by Jane and Sarah McDonnell, commenced with a successful launch at Róisín Lafferty’s newly established gallery. This gallery, located at 23 Fitzwilliam Square, also serves as her practice's headquarters and studio. Following this initial event, Róisín Lafferty, an internationally recognized interior designer, conducted a sold-out Design Talk at Anantara The Marker in Grand Canal Dock, addressing a large audience eager to learn about her work and career trajectory. The event began with Ciara Doherty, representing the Design Week Dublin founders, extending a welcome to the attendees. Architect and broadcaster Amanda Bone then introduced Lafferty, setting the stage for a presentation that featured video clips and images showcasing Lafferty's diverse portfolio. During her talk, Lafferty recounted her early career experiences as an interior designer, emphasizing the hands-on learning she gained by collaborating with various professionals in construction, engineering, architecture, and quantity surveying. She highlighted the importance of understanding the intricate processes involved in each role on a construction site, often immersing herself directly in the work to grasp foundational principles. She specifically mentioned her active participation in site deconstruction, observing tradespeople to gain practical insight. Lafferty established her independent practice in Dublin in 2010, after an initial period working in partnership with another designer. The audience was presented with visual examples of her projects, which predominantly included residential designs. Amanda Bone posed a question regarding Lafferty's ability to consistently create unique schemes without repetition, underscoring the originality evident in her work. Lafferty’s firm currently employs a team of ten designers. The renovated Georgian townhouse at 23 Fitzwilliam Square functions as a multifaceted space. It is the central office for Lafferty’s design practice, a studio for creative work, and a gallery that exhibits her original furniture and lighting collections. Additionally, the gallery features vintage pieces and artworks, alongside a furniture and lighting collection by Bryan O’Sullivan, exclusively available at this location. Lafferty expressed that establishing such a comprehensive space was a long-held ambition, realized through the extensive restoration and renovation of the townhouse. The article recommends a visit to the gallery to experience Lafferty's recent 'Sphere' collection and to observe the detailed interior design of the space. #DesignWeekDublin #RóisínLafferty #InteriorDesign #ArchitecturalDesign #GeorgianTownhouse #FurnitureDesign #LightingDesign #IrishDesign #DesignGallery

The TEDNYC Design Lab hosted a night of talks at TED HQ in New York City, featuring six speakers who delved into the intricacies of design. The event, curated by Chee Pearlman with content producer Cloe Shasha, explored the hard work and creative process behind exceptional design across various disciplines. Topics ranged from urban architecture and the impact of cityscapes to the power of images, accessible design, and the use of data in a humanistic approach. Pulitzer-winning music and architecture critic Justin Davidson initiated the discussions by addressing the monotony of modern cities. He highlighted the prevalence of steel and glass buildings, which, despite their aesthetic appeal and practicality, have led to a simplification of urban architecture. Davidson argued that the rejection of traditional materials like wood, sandstone, and marble diminishes the sensory experience of a city. He emphasized that buildings define public spaces, citing examples like Plaza Mayor in Salamanca and Place des Vosges in Paris, which draw people in, contrasting them with glass towers that tend to alienate. Davidson advocated for an urban architecture that embraces the full spectrum of human experience, rather than defaulting to glass, which can create a cold and disquieting environment. Françoise Mouly, art editor for The New Yorker, then discussed the power of an image to capture historical moments. She traced the magazine's iconic "Eustace Tilley" cover, originally a playful jab at Jazz Age aristocrats, and how it has evolved to reflect contemporary events. Mouly underscored the importance of a free press and the role of artists in contributing to cultural dialogue through their work, demonstrating how simple ink and watercolor can encapsulate significant social and political narratives. Educator and fashion blogger Sinéad Burke brought attention to the often-overlooked aspects of accessible design. As someone with achondroplasia, Burke shared her firsthand experiences with designs that hinder independence, such as the height of bathroom stall locks or limited shoe sizes. She challenged the conventional understanding of accessible spaces, arguing that many are inadequately designed and can even inflict vulnerability. Burke's talk urged a reevaluation of design principles to be more inclusive and considerate of diverse user needs. The event also featured a musical performance by Sofi Tukker, who captivated the audience with their hits “Hey Lion” and “Awoo.” The duo showcased their unique “Book Tree,” an instrument crafted from actual books that produces percussive beats, highlighting the intersection of design and musical innovation. Giorgia Lupi, co-founder of the data firm Accurat, explored the challenges of data representation. Reflecting on past political events where data failed to predict outcomes accurately, Lupi stressed that limited or skewed information can distort reality. She introduced the concept of "data humanism," advocating for the inclusion of empathy, imperfection, and human qualities in how data is collected, processed, and displayed. Lupi argued that data alone cannot represent reality and that human stories are essential to transform abstract numbers into something relatable and meaningful. Architect Siamak Hariri discussed the design of sacred spaces, focusing on his work on the Bahá’í Temple of South America in Santiago, Chile. Hariri elaborated on his endeavor to create a structure that evokes a sense of the ineffable through its interaction with light throughout the day. He described the meticulous process of sourcing materials, such as stone from Portuguese quarries, to achieve a profound architectural experience, culminating in the temple's splendid opening. Finally, designer Michael Bierut shared a story about the unintended consequences of design. He recounted his work on rebranding libraries in New York City public schools for the Robin Hood Foundation, where his initial task of creating a logo evolved into a broader initiative. By collaborating with architects, photographers, and artists, Bierut helped transform library spaces with murals and art installations. He discovered that his involvement went beyond a mere logo, contributing significantly to bringing energy, art, and a renewed sense of learning to school libraries, inspiring both librarians and students. #TEDNYCDesignLab #ArchitectureCritique #UrbanPlanning #AccessibleDesign #DataHumanism #SacredArchitecture #DesignThinking #NewYorkerCovers #SofiTukker

The article showcases the Ramsey Hill Victorian home of Sarah and Zach Olson, built in 1885, located in St. Paul. The Olsons, with their two children Runa (7) and Hans (5), sought to imbue their historically rich residence with a distinct and playful personality, moving away from a conventionally tasteful aesthetic. Sarah Olson emphasized filling their home with objects they genuinely love, fostering an environment that encourages strong reactions from visitors, whether positive or negative. Upon moving in, the Victorian house presented a blank canvas, characterized by white walls, natural oak woodwork, and leaded-glass windows. Recognizing her inclination towards maximalist design, Sarah enlisted the expertise of interior designer Julia Miller of Yond Interiors. Miller's task was to temper Sarah's enthusiastic vision, integrate Zach's specific request for a large, felt-topped game table, and create a cohesive and interesting flow throughout the spaces. The design philosophy adopted by Miller was to harmoniously blend the home's turn-of-the-century heritage with mid-century elements, aiming for a vibe that pays homage to both eras. The vibrant pink wallpaper in the staircase served as a pivotal design element, inspiring a color palette of smoky pastels, browns, blues, and greens. Miller curated an eclectic mix of furnishings and lighting fixtures, which collectively brightened the formal architectural lines of the house. The living room was ingeniously divided into two distinct zones: one dedicated to Zach's strategy gaming and the other designed for Sarah's book club gatherings. The book club area features curvilinear, comfortable sofas and chairs alongside various tables, offering a flexible setting for social interactions. In contrast, the gaming area is anchored by clean cabinetry and elegantly shaped Gubi chairs, which provide a counterpoint to the substantial presence of Zach's game table. Miller highlights the importance of designing spaces that are actively utilized by the residents, underscoring her commitment to incorporating personal passions into the design. She notes that while Zach's game table presented unique design challenges, fulfilling his "heart's desire" was a central and rewarding aspect of the project. This collaboration resulted in a home that not only respects its historical context but also reflects the vibrant personalities and contemporary needs of its inhabitants, demonstrating how heritage and modern living can coalesce into a truly unique and conversation-starting environment. The article also details specific design choices, such as the dusty lavender chosen by Julia Miller for the vestibule, which exhibits shifting hues throughout the day, creating an engaging visual experience. A 1970s travertine table and a Blu Dot leather ottoman provide grounding elements in this narrow entry space. The front door is painted in Benjamin Moore’s Brown Teepee, adding a subtle pink flush that complements the Victorian architecture without overshadowing its intricate details. In the foyer, an exuberant patterned wallpaper, “Proteas’ Dream” by 17 Patterns, was strategically limited to the stairway to prevent an overwhelming effect, while hemp grass cloth from Gregorius Pineo, in a green tone extracted from the wallpaper, adds sophisticated drama. A 1950s-reproduction cone chandelier from 1stDibs maintains a light mood. The custom cabinetry for game storage and an integrated grate concealing the air-conditioning split demonstrate thoughtful functionality. The living room further exemplifies the blend of styles with a curvy sofa from Crate and Barrel, re-covered in a Christopher Farr Cactus Flower fabric, and a marble table with interlocking legs, creating a convivial setting for gatherings. #InteriorDesign #HomeTours #VictorianHome #EclecticStyle #RamseyHill #StPaulHomes #YondInteriors #HistoricRenovation

This article features an interview with Natalie Greenside and Melissa Brown, co-founders and principals of MN Studio, an interior design firm. The interview delves into their journey of establishing their own business, their work and career, and their recommendations for activities and dining in Santa Barbara. Both Greenside and Brown previously worked at an Architecture and Interior Design firm in Santa Barbara, where they discovered their compatibility and shared vision for operating a design studio. Their decision to start MN Studio stemmed from a desire to move beyond working for others, a realization that grew stronger over the years. They formalized their business plan by taking a class through Women's Economic Ventures (WEV), which provided them with the foundational knowledge for entrepreneurship. MN Studio operates as a full-service Interior Design firm, leveraging the extensive backgrounds of both founders in architectural firms. Their expertise is complemented by a rich understanding of materials and a vast network of industry connections. The firm emphasizes a highly collaborative approach and strong client advocacy. The co-founders acknowledge that their success is a result of hard work and significant support from their families, clients, friends, and colleagues, as well as their mutual partnership. A notable challenge during their first year of business was the arrival of Melissa's baby, which coincided with an influx of new projects. This period proved demanding but ultimately strengthened their resolve and demonstrated their ability to navigate complex situations, combining the demands of new motherhood with running a growing business. Overcoming initial difficulties in hiring, MN Studio now prides itself on a team of experienced interior designers. They prioritize creating an office culture that is collaborative, flexible, and creative, valuing employee input and respecting their personal lives outside of work. The article highlights some of MN Studio's current and upcoming projects, which include custom residential designs in Santa Barbara, Montecito, and Malibu, each featuring unique architectural styles. Their hospitality portfolio encompasses a boutique hotel in San Luis Obispo and several bars and restaurants on the South Coast. Additionally, they are excited about recent workplace projects, one of which uniquely incorporates a live tree within an open office environment. Greenside and Brown also share their favorite local spots in Santa Barbara. For breakfast, they recommend Lilac Patisserie for quiche and cappuccino, followed by a visit to the Santa Barbara Art Museum. An afternoon could be spent wine tasting in the Funk Zone, culminating in dinner at Flor de Maiz for duck confit taquitos. A second day might involve hiking local trails for scenic views, followed by brunch at Field and Fort in Summerland and shopping at The Well, Porch, and Botanik. An evening suggestion includes dinner at Ca Dario, an Aperol Spritz at Good Lion, and a concert at the Santa Barbara Bowl. They specifically highlight Lotus Land, an estate known for its avant-garde landscaping, as an unmissable attraction. The co-founders express gratitude for the extensive support they received, acknowledging their families for financial investment, encouragement, and guidance in business operations. The skills acquired from WEV were crucial in building a solid business foundation. They also mention the overwhelming support from clients, consultants, friends, and colleagues upon announcing the launch of their business. The article concludes by inviting readers to visit MN Studio's website and Instagram for more information, and attributes image credits to Blake Bronstad, while also providing a link for community nominations for the Shoutout series. #InteriorDesign #Entrepreneurship #MNStudio #NatalieGreenside #MelissaBrown #SantaBarbara #BusinessJourney #DesignFirm #WorkLifeBalance

The METROPOLIS Sustainability Lab is returning to NeoCon, offering insights, tools, and inspiration for the architecture and design (A&D) industry to create spaces that positively impact both people and the planet. This year's Lab, themed "Material World," will be located on the 11th floor of the Mart and focuses on showcasing cutting-edge innovations in healthy, circular, and regenerative materials and manufacturing processes. Over 20 sustainable materials and products, suitable for various project types and sizes, will be featured. Key exhibits include "Designing from the Soil Up," a furniture installation by Common Object Studio, which blends regenerative agriculture with material upcycling. Additionally, Planet Positive Award-winning projects will be displayed, highlighting breakthrough material strategies. Special activations from industry leaders like Carnegie, Impact Acoustic, Lutron, and Mohawk will demonstrate planet-friendly design solutions that also prioritize human well-being. Among the featured products, 3form's Know New Plastic initiative demonstrates a commitment to sustainability through advanced recycling technologies, converting hard-to-recycle plastics into architectural materials, reducing emissions by 25% compared to virgin materials. BIOME introduces Droplet, a self-watering planter that draws moisture from the air, promoting healthier indoor air quality and well-being. Calyx by Claridge presents MIX Contemporary Mobile Whiteboards, customizable dry-erase boards and tackboards made from FSC®-certified ash wood, utilizing landfill-destined lumber. Keilhauer offers Dais, a sustainable seating solution with an airy frame and oversized cushion, constructed from FSC® Certified Wood and biobased foam. Fry Reglet’s Lighting Systems combine metal fabrication with LED technology for various applications, offering extensive options. Behr Paint Company showcases paints and coatings with reduced chemical emissions and enhanced durability, many of which are GREENGUARD Gold-certified and packaged in recyclable containers. Shaw Contract emphasizes PVC-free products like EcoWorx™ Resilient and EcoWorx® BIO, designed for circularity, improved material health, and reduced environmental impact. Garden on the Wall curates preserved gardens for soothing interior spaces, meeting rigorous environmental standards and offering rejuvenation and end-of-life management programs. Impact Acoustic's Noren acoustic curtain champions sustainability with recycled and reusable materials, circular design, and a digital product passport. American Biltrite introduces ABPURE® Infinity, a carbon-neutral rubber flooring made with renewable natural gas, reducing emissions and offsetting its footprint. Lutron automated window treatments contribute to energy savings and extend furnishing life, offering numerous sustainable fabric options. Mohawk Group’s Duracolor® Tricor Fiber is a solution-dyed nylon that uses no water in the dyeing process and includes 100% recycled content when used with EcoFlex ONE modular carpet backing. Econyl by Aquafil presents the ECONYL® Bespoke Collection, made entirely from waste materials and infinitely recyclable. Hyphyn offers the world’s first biodegradable vinyl upholstery, proven to biodegrade over 90% within two years in landfill conditions. Clarus features Float, a sleek, wall-mounted glass board made with responsible manufacturing processes and aiming for 100% renewable energy by year-end. Duvaltex’s CLEAN IMPACT TEXTILES® biodegrade in landfills and are made from upcycled ocean waste and recycled polyester. Lingrove highlights ekoa® natural wall protection made from ultra-strong flax, a rapidly renewable plant. Milliken’s WellBAC® Cushion Backing, made from recycled materials, comes standard on all carpet tile products, enhancing acoustics and ergonomics. Carnegie offers 100% PVC-free commercial textiles and acoustic solutions, including Xorel textiles made from sugarcane and Kirei PET from recycled plastic. Parador/Matter Surfaces provides premium engineered wood, laminate, and vinyl flooring, with 99% waste recycling and solar-powered production. ZIP WATER’s HydroTap delivers boiling, chilled, and sparkling water on demand, eliminating single-use plastics and using water-efficient technology. Turf Design’s expanded Wood and Stone Textures collection brings nature-inspired patterns to its recycled PET felt material, minimizing ink use for sustainable aesthetics. Allsteel’s Beyond® architectural system significantly reduces carbon impact and construction waste through repeated reuse and reconfiguration. #SustainabilityLab #NeoCon #MaterialWorld #SustainableDesign #EcoFriendlyMaterials #CircularEconomy #GreenBuilding #ArchitecturalInnovation #InteriorDesign

Architects Alexandra Burr and Allen Slamic of AlexAllen Studio undertook a comprehensive renovation of a 19th-century wood-frame townhouse in Greenpoint, transforming a dimly lit and structurally compromised dwelling into a bright, energy-efficient home. The initial state of the two-stories-plus-basement row house was described as unpromising, characterized by vinyl cladding, modest size, and cavernous rooms with minimal natural light. A significant structural concern involved the fire hazard posed by shared roof cavities across five connected buildings, necessitating immediate sealing and disconnection from neighboring properties. The renovation focused heavily on enhancing natural light and improving energy efficiency. To achieve this, walls were removed on the ground and a portion of the second floor, and the stair opening was enlarged, sacrificing some upstairs floor space to increase light flow. An existing skylight was expanded, and larger window openings were created on the rear facade, resulting in a dramatic increase in natural illumination. All windows were replaced with double-glazed tilt-and-turn units, except for casement windows in the kitchen, and the HVAC and other mechanical systems were entirely updated, significantly improving the home's energy performance. Attention to design details was paramount, with AlexAllen Studio adopting a pared-down aesthetic that integrated historical elements in a simplified manner. The stair, for instance, retained traditional components like spindles, railing, and a newel post but with a modernized, simplified design. A key design choice involved using reveals instead of moldings at the junctures of walls and ceilings. This technique creates subtle shadow lines, offering a cleaner, more refined look than traditional moldings, though it required more meticulous craftsmanship. The design firm's expertise extended beyond architecture to include interiors, furniture, and lighting design, ensuring a cohesive vision for the entire project. The homeowners' personal touches are integral to the home's character. One of the owners, a photographer, film director, and hobbyist woodworker, crafted numerous pieces of furniture in a basement wood shop. These custom-made items include the kitchen table and stools, a daybed in the living room, the primary bedroom's bed, and children's furniture, adding a unique and personal dimension to the interior. The kitchen, a central feature, was designed in an open-plan layout following the removal of a load-bearing wall. Its palette consists of whites, grays, and natural wood, with a Douglas fir glulam beam emphasizing the soffit where the wall once stood. Vermont Plank flooring, sealed with clear oil to preserve its natural color, contributes to the earthy material scheme. The kitchen design was influenced by BDDW tiles, around which the rest of the elements, including Reform cabinets with painted doors, custom oak veneer millwork, and Atlantic Lava Stone countertops, were coordinated. The homeowner also fabricated the light fixture above the kitchen table. Throughout the house, custom oak veneer doors, trimmed with white oak, maintain a consistent aesthetic, with a large pocket door leading to the primary suite allowing for an expansive sightline. The primary bath features zellige tiles from Clé and an existing skylight positioned over the shower, with angled walls to maximize light, alongside a custom oak veneer vanity with an Arabescato marble top and trim. A second full bath on the top floor serves the family's child, completing the thoughtful and integrated design of the renovated Greenpoint townhouse. #GreenpointTownhouse #HomeRenovation #AlexAllenStudio #InteriorDesign #NaturalMaterials #EnergyEfficiency #CustomFurniture #ArchitecturalDesign #BrooklynRealEstate

The article discusses the evolution of biophilic architecture from a niche concept to a mainstream design approach, emphasizing its benefits and challenges. Biophilia, defined by Edward O. Wilson in 1984, posits that humans have an innate need to connect with nature. Incorporating natural elements into built environments has been shown to improve human well-being, including lower blood pressure, reduced stress, enhanced attentiveness, and increased happiness and creativity. Beyond human benefits, biophilic design also contributes to environmental health by fostering biodiversity, decreasing energy consumption, reducing carbon emissions, and purifying polluted air. Richard Hassell, co-founder of WOHA, a Singaporean architectural firm, notes the shift in perception where developers, initially skeptical, now actively embrace biophilic principles. However, he cautions against the reduction of biophilia to a mere marketing buzzword, stressing the importance of thoughtful and effective implementation rather than just adding plants. The success of biophilic design hinges on how deeply it integrates natural elements and functions, moving beyond superficial aesthetics. MK Leung, director of sustainable design at Ronald Lu & Partners (RLP) in Hong Kong, highlights the need to quantify the quality of biophilic interventions. RLP utilizes a custom script within Rhinoceros with Grasshopper to evaluate projects based on biophilic elements a user would experience, such as views of greenery, natural sounds, scents, and sensations. This ensures that biophilic principles are consistently applied and sustained throughout a project. Examples like RLP's Garden Crescent, a residential tower with vertically linked gardens, and Echo House, a modular residential development integrating biophilic elements to soften its manufactured feel, demonstrate this commitment. Despite Hong Kong's challenging hyper-dense urban landscape and rigid building codes, biophilic design has found fertile ground. The E-Co Village, a recreational space on a former landfill site designed by AOS Architecture, exemplifies this by offering a natural environment for learning about sustainability, powered by solar energy. Corrin Chan of AOS Architecture drew inspiration from Thich Nhat Hanh's "Zen and the Art of Saving the Planet," emphasizing that humans are integral to the environment. Swire Properties' redevelopment of Taikoo Place further illustrates this trend, incorporating 6,500 square meters of public open space, inspired by traditional feng shui woods, to connect urban areas with natural ecosystems and enhance biodiversity. Richard Hassell underscores the importance of designing not only for human-centric biophilia but also for biodiversity, suggesting that a garden rich in butterflies and birds offers a more profound biophilic experience. WOHA's upcoming Faber House in Singapore, for instance, features interconnected vertical gardens and a 15-story waterfall, designed to create interconnected ecosystems. The article also addresses the critical question of environmental sustainability in biophilic design. Leung emphasizes that biophilic designs must not consume more energy than conventional designs to be truly beneficial. Hassell acknowledges the complexity of this calculation, noting that while a poorly designed green wall might be unsustainable, the wellness and mental health benefits, along with improved air quality, often justify the investment when executed thoughtfully. Ultimately, biophilic design aims to harmonize environmental support with human wellness, representing a convergence of these critical objectives. The article also mentions several other biophilic projects in Asia, including Central Park in Vietnam, which integrates engineered 'trees' for rainwater collection and solar power generation; Heatherwick Studio's 1000 Trees in China, resembling a cliffside forest; Kai Yufuin Ryokan in Japan, a hot springs resort designed with terraces inspired by rice fields; and WOHA's Pan Pacific Orchard in Singapore, known for its lush greenery and open-air spaces in a vertical setting. These projects collectively showcase the diverse applications and growing acceptance of biophilic principles in contemporary architecture across the region. #BiophilicArchitecture #SustainableDesign #UrbanPlanning #EnvironmentalSustainability #HumanWellbeing #ArchitecturalInnovation #HongKongArchitecture #SingaporeArchitecture #GreenBuildings

Ellen Van Dusen, the designer behind the fashion and homeware line Dusen Dusen, operates from a 600-square-foot studio in Williamsburg, Brooklyn. She moved into this space approximately five years ago, seeking a more interactive and creatively stimulating environment than working from home. Previously, working from home led to feeling isolated and dealing with practical issues like fabric scraps and pins. The studio serves as a dedicated space for her creative endeavors, addressing the challenges she faced in her previous home-based work setup. Van Dusen’s studio is a vibrant display of repetitious shapes, lines, arches, and squiggles, characterized by a bold use of primary colors combined with unexpected hues. The space showcases numerous examples of her brightly colored graphic prints across various products. These include silky dresses, linen jumpsuits, color-blocked jackets, dog beds, patterned throw pillows, graphic bath and beach towels, fruit-printed bed linens, and cozy blankets. Poster boards featuring her most popular prints are also displayed throughout the studio, highlighting the consistent aesthetic of her brand. Despite the abundance of items, the studio maintains an organized chaos. There is a clear sense of order within the colorful environment. For instance, scissors are neatly hung, and books, though seemingly disarranged, are easily located by Van Dusen. She references a book on the principles of geometry, noting its exploration of mathematical patterns, including tessellations—repeating shapes that fit together seamlessly. She observes that some of these geometric principles resemble prints she has independently created, highlighting an intuitive connection to mathematical design. Van Dusen's approach to design is inherently analytical, stemming from her academic background. She has no formal fashion or design training. Instead, at Tufts University, she created her own major, "Psychology of Design," which explored art history through the lens of neuroscience. Her studies focused on how the brain perceives color, culminating in a senior thesis on the use of color by artists Mark Rothko, Morris Louis, and Ellsworth Kelly. Her lifelong fascination with color drives her inquiry into its visual appeal, its role in human perception, and the success of color-centric art. Her interest in art and design began in childhood, influenced by frequent visits to museums in Washington, D.C., and craft projects with her architect parents. This upbringing fostered a diverse range of interests that shaped her aesthetic, which she describes as drawing from many different worlds. As a teenager, Van Dusen began designing her own clothing, using a sewing machine to reconstruct thrift store garments. She often favored bright, unexpected color combinations and graphic patterns, creating her own printed textiles by laboriously sewing patterns onto fabric, as she initially did not know other methods. After moving to New York, Van Dusen received an opportunity to stock her designs in an East Village boutique, prompting her to rapidly learn professional skills like grading, pattern-making, and finishing. She launched Dusen Dusen in 2010, hand-sewing her initial collection from a makeshift workspace in her bedroom. In 2015, she expanded her brand into home decor, including pillows, blankets, bed linens, towels, and pet beds, adapting her clothing prints to different scales for these items. She notes that designing for home decor allows for individual object design, unlike clothing, where fabric patterns are cut from a larger piece. Van Dusen's design process incorporates technology, with her brothers helping her code patterns to generate variations. This method aids in brainstorming and developing new print ideas. However, she emphasizes the importance of unplugging and working with analog methods. Her studio is intentionally divided into a digital workspace and an "analog side" where computers are not allowed, enabling focused drawing and idea generation without digital distractions. Looking ahead, Van Dusen is renovating her home, which is influencing her thinking about larger-scale design. She is also collaborating with a furniture designer and developing upholstery fabric, considering its potential use in both home furnishings and unconventional clothing items. #DusenDusen #EllenVanDusen #BrooklynStudio #ColorPsychology #PatternDesign #HomeDecor #FashionDesign #TextileDesign #CreativeProcess

High Society, an Italian sustainable design start-up founded in 2015 by craftsman Johannes Kiniger and designer Giulia Farencena Casaro, focuses on creating plant-based lighting pieces by recycling local post-industrial waste. Their core mission is to emphasize the value of waste as a primary resource, developing solutions to repurpose seemingly useless materials, exploring new production processes, and fostering a genuine connection between nature and humanity. The studio, based in South Tyrol, Italy, specializes in up-cycling agricultural by-products into unique objects. Among their notable creations is the Highlight pendant lighting collection, a series of suspended lamps crafted from agricultural waste. This innovative project gained recognition, being selected to participate in the London Design Fair 2019 as part of the Material of the Year exhibition, which highlighted biomaterials and agricultural waste. The Highlight collection extends its creative concept by transforming materials associated with human vices—hemp plants, tobacco, and wine production leftovers—into elegant, bright light sources. Each of the three pieces in the Highlight collection is made from distinct waste materials. The raw materials are sourced from local productions, then processed by chopping them into powder. This powder is subsequently compression-moulded with a bio-based binder using a low-temperature machine, a process that relies on renewable resources and minimizes environmental impact. To ensure durability and protect the surfaces from moisture, the finished pendants are coated with natural wax. The compression technique used in the manufacturing process results in sleek, natural-looking designs. A unique characteristic of these lampshades is their unpredictable surface pattern, making each piece distinctive. These designs are well-suited for contemporary commercial or residential environments. Beyond their aesthetic and environmental benefits, High Society demonstrates social responsibility by supporting initiatives against drug dependency through the Highlight collection, in collaboration with Forum Prävention in Bolzano, Italy. Specifically, the Highlight hemp lamps are crafted from industrial hemp harvest leftovers, cultivated without pesticides at an altitude of 1300 meters. The article notes the growing popularity of hemp-based products and the increasing number of innovative hemp production ventures in Italy. Industrial hemp has seen a significant surge in cultivation acreage over the past five years, indicating a potential multi-billion euro market across various sectors, including cosmetics, furniture, food, pharmaceuticals, and packaging. This broad utility has inspired many designers to integrate experimental hemp uses with modern digital manufacturing processes. For the Highlight Tobacco pendants, High Society sources waste from an Italian supplier that cultivates tobacco without additives. The article highlights that Italy is a top ten global tobacco producer. The Highlight Wine pendants are created from pomace leftovers, the pulpy residue from wine production, which is collected from a local organic winery in South Tyrol. This approach underscores High Society’s commitment to utilizing readily available local waste streams to produce their sustainable lighting solutions. #LightingDesign #InnovationDesign #InnovativeMaterials #SustainableDesign #Upcycling #AgriculturalWaste #BioMaterials #HempProducts #CircularEconomy

Selecting the appropriate flooring for a home is a significant decision, often fraught with challenges, as it represents a long-term investment that can define a space for decades. This article consults several local design experts to demystify the process and offer practical advice on choosing the best flooring materials. The designers emphasize that while homeowners may desire the seamless experience often depicted on television, the reality involves careful consideration, including functionality, longevity, and aesthetic balance. They provide insights into various flooring options, current trends, and strategies for making informed choices that align with both personal style and practical needs. Allyson Hicks of Allyson Hicks Design Consulting advocates for timeless flooring choices, particularly for foundational elements like wood floors, stressing that paint colors are much easier to change than an entire floor. Hicks notes a shift away from the previously popular gray wood tones towards warmer hues, which she finds particularly suitable for the Louisiana region as they complement local architectural features like antique beams. While recommending a classic approach for main flooring, she encourages bolder choices and intricate patterns in smaller, less central areas like bathrooms and laundry rooms, where tile work can introduce character without overwhelming the entire home. She suggests using black and white patterns for clients who are hesitant about incorporating bold colors. Meghann Landry of McMillin Interiors highlights functionality and design longevity as crucial factors in flooring selection. She advises homeowners to consider how a space will be used to ensure the chosen material meets practical demands. Landry also emphasizes the role of flooring in achieving balance and texture within a room, comparing it to fabrics in its ability to layer and add depth. For bathrooms, she frequently opts for white marble, believing it allows other accents and bolder colors to stand out more effectively, reflecting a trend towards using white stone elements with varying cabinet colors to create visual interest. Karen Giffel of Karen Giffel Interior Design tailors her flooring recommendations to each client's lifestyle, whether casual or formal, and their specific needs, such as accommodating young children. For families with active children, Giffel often suggests vinyl wood tile floors, noting their enhanced durability and aesthetic improvements over time. These materials can withstand significant wear and tear, making them a cost-effective and child-friendly option. Beyond practicality, Giffel also discusses the importance of small, sophisticated details like brass inlays to elevate a design. She highlights that these elements can create a modern yet traditional mix, appealing to current homeowner preferences for blended styles. Ashlyn Elofson from Trends by Design suggests moving beyond traditional wood flooring to create unique design statements through patterned and shaped materials. She expresses enthusiasm for incorporating innovative materials, such as those from the Jamie Beckwith Collection, into upcoming projects. Elofson has recently utilized bleached white oak flooring, appreciating its ability to introduce warmth while maintaining a clean and contemporary look. For areas where budget is a concern, such as bathrooms, she recommends using materials that convincingly mimic more expensive options. For example, porcelain tiles designed to resemble marble offer a budget-friendly solution when combined with genuine marble countertops and backsplashes, effectively reducing costs in areas with extensive square footage while maintaining a luxurious aesthetic. #FlooringDesign #InteriorDesign #HomeRenovation #DesignTrends #MaterialSelection #TimelessDesign #FunctionalFlooring #BudgetFriendlyDesign #LouisianaDesign

BekaertDeslee's U.S. showroom in Winston-Salem, North Carolina, showcases the company's approach to mattress ticking design, emphasizing the blend of artistry and technical expertise required in the field. The showroom features a wide array of fabric samples, ranging from classic whites and grays to vibrant aquas, purples, and charcoals, displayed against crisp white walls to enhance their visual impact. The space, adorned with natural light and potted plants, fosters both functionality and creativity, reflecting the company's design philosophy. Kara Pruitt, BekaertDeslee's lead designer, highlights the comprehensive nature of design, which extends beyond aesthetics to include manufacturability and scalability. Designers must consider trends, color, texture, and dimension while ensuring that each fabric can be mass-produced efficiently. The intricate process involves controlling thousands of needles in circular knitting to create millions of stitches for a single fabric design, a testament to the technical precision involved. The U.S. design team, a multinational group including Pruitt and led by Charlene Vaz, director of marketing and design for BekaertDeslee North America, collaborates with colleagues in Canada and Mexico to form the North American design unit. This diverse team brings a wealth of skills and aesthetic sensibilities, driving innovative ideas for clients. The design process for mattress ticking typically begins by aligning the fabric's value with the customer's vision and the mattress's market positioning. Ticking serves as a crucial element of 'package design,' communicating the mattress's characteristics—whether it offers cooling properties, moisture-wicking, or simply represents quality at an affordable price. Designers work closely with the new product introduction (NPI) team to select appropriate yarn types and fabric constructions, ensuring the design meets both aesthetic and functional requirements. Client collaborations vary, with some, like Kingsdown, seeking fashion-forward, bolder designs inspired by external fashion trends, often involving multiple collaborative sessions. Other clients prioritize commodity-driven solutions, requiring well-priced, durable fabrics for long-term use. This adaptability highlights the team's ability to cater to diverse customer needs. For general market offerings, the design team relies on extensive trend research, partnering with WGSN to identify key directions in color, pattern, and consumer preferences. Current trends indicate a preference for bold and unexpected fabrics, which Vaz attributes to a post-pandemic desire for energy, particularly among Gen Z consumers who represent the future home market. Artificial intelligence has emerged as a valuable tool in accelerating and diversifying fabric design. Designers use AI generators to create unique artwork, transforming initial concepts into larger, more colorful patterns, which helps overcome creative blocks and generates novel ideas. While AI provides a starting point, the design team emphasizes that it is a tool rather than a complete solution, requiring human input and refinement. An instance involved an AI-generated image of a teal and orange paisley mattress, which inspired new fabric collections displayed at industry events. Beyond design, BekaertDeslee prioritizes dependability and sustainability. The company has reduced sample turnaround times to two weeks or less and utilizes digital rendering software to explore design ideas efficiently, minimizing waste. Sustainability is a core mission, leveraging advanced European initiatives to offer recycled polyester and circular fabrics made from biodegradable yarns in North America. An example is a zipperless, mono-material cover (100% polyester) designed for easy disassembly and recycling at the end of the mattress's life, addressing a common recycling challenge associated with mixed-fiber fabrics. Designers also proactively integrate sustainability into future projects, offering clients recycled yarn options, even if they come with a slight upcharge. The design team also works with global supply sourcing and NPI teams to ensure competitive pricing and appropriate construction for various client needs. #BekaertDeslee #TextileDesign #MattressFabrics #Sustainability #DesignInnovation #AIinDesign #CircularEconomy #HomeFurnishings #ProductDevelopment

The SANDOW Design Group, in partnership with 3form for the third consecutive year, introduces its DesignScene lounge at NeoCon 2024, located on the 11th floor of The Mart in Chicago. This year's lounge, titled "Colorblock," explores the concept of stepping inside color through an intricate display of shapes and contrasting shades. The design draws heavily from the art historical technique of color blocking, which involves juxtaposing colors from opposite ends of the spectrum, echoing modernist movements from the 20th century. Cindy Allen, editor-in-chief of Interior Design, explains that the Colorblock theme builds upon the previous year's "Colorplay" and uses graphic techniques to define different brand areas within the lounge, with warm reds and pinks for Interior Design and cool greens for Metropolis. The color palette itself is inspired by the work of Le Corbusier, particularly his storied house in France. Ryan Smith, chief creative officer at 3form, shares that both he and Allen were independently drawn to Le Corbusier’s aesthetic as inspiration. Smith notes that Le Corbusier's house features a muted palette, a characteristic intentionally carried into the DesignScene lounge. The colors chosen for the 2024 space are slightly subdued to ensure that all areas of the space feel activated, creating an inviting atmosphere rather than an overwhelming one. The design integrates bold graphics and unexpected installations on walls, floors, and ceilings. Smith explains that the graphic patterns throughout the lounge are informed by the existing architecture of the space, leveraging shadows and edges to create a dynamic interplay of lines and color blocking. This approach ensures that every shade feels integrated and purposeful within the environment. The lounge features materials from various partners to bring the color scheme to life. Flooring is provided by Shaw Contract, wallcoverings by Momentum Textiles and Wallcovering, and paint by Behr. This collaborative effort transforms the space into a three-dimensional colored canvas, offering visitors a unique sensory experience. A key element of the lounge is an expansive communal table, designed to facilitate connection and relaxation, offering a welcome reprieve from the busy NeoCon show floor. Additionally, HBF has contributed to the lounge by creating an activation space with its signature furnishings, offering comfortable seating for attendees with weary feet. Beyond the aesthetic experience, DesignScene serves as a hub for industry engagement and knowledge sharing. Attendees can observe Interior Design editors preparing the NeoCon ShowDaily newspaper and participate in ongoing industry roundtables with design leaders. The lounge also hosts rising stars selected for the "First NeoCon" program, a partnership with The Mart, supporting emerging talent in the design field. The Sustainability Lab by Metropolis is another integral part of DesignScene, showcasing sustainable products, providing curated readings and resources, and offering additional spaces for visitors to relax and recharge. The collaboration between SANDOW Design Group and its partners aims to create a deeply immersive and informative experience rooted in design innovation and community. #NeoCon2024 #ColorBlocking #InteriorDesign #3form #LeCorbusier #DesignScene #ArchitecturalInspiration #SustainableDesign #DesignInnovation

The Interior Design's re:Source event in Arizona, held from September 15-17 at the Ritz-Carlton, Dove Mountain, brought together nearly 80 innovative manufacturers and designers to foster lasting and impactful relationships within the design community. The event commenced with Erica Waayenberg, head of research and content development at ThinkLab, presenting crucial insights into the factors influencing client decision-making in design. Waayenberg highlighted that decisions surrounding the built environment are taking longer, attributing this trend to a shift in benchmarks and the involvement of stakeholders with often conflicting priorities. Her data-driven presentation illuminated common pain points in the design process, prompting an interactive discussion among attendees. Participants contributed various solutions, including the need for greater transparency in pricing data and strategies to streamline the overall decision-making process for clients. Throughout the re:Source event, designers and manufacturers engaged in numerous informative, brief meetings, facilitating the exchange of ideas and the discovery of novel products. These professional interactions were complemented by a variety of engaging recreational activities designed to enhance networking and well-being. Attendees participated in sessions such as desk yoga, mala bead-making, and an apothecary workshop, offering creative outlets and opportunities for informal connection. Evenings featured cocktails on the lawn, complete with a powerful telescope for a unique stargazing experience, further fostering a relaxed and convivial atmosphere for networking. This year's re:Source also marked the launch of Metropolis Connect by Metropolis, an initiative that expanded the event's reach by inviting architects and architectural product manufacturers into the mix. This addition created a more diverse and comprehensive platform for creative professionals. Metropolis Connect, which aims to forge meaningful connections between brands and leading architects, is scheduled to co-locate with re:Source again in Fall 2025. John Bergstrom, Director of Business Development for Accurate Lock & Hardware, lauded the quality of the architect attendees, noting their exceptional engagement and keen interest in learning about new products. This sentiment was echoed by many industry attendees who gathered for three days dedicated to strengthening professional ties and advancing their craft. The event successfully facilitated hundreds of meetings between designers and manufacturers, allowing for direct engagement and product exploration under the Arizona sun. The blend of structured professional meetings with mindful and social activities, such as the apothecary workshop and stargazing, created a holistic experience that promoted both business development and personal well-being. The involvement of Metropolis Connect further enriched the event, bringing a broader spectrum of design professionals together. The overall atmosphere was conducive to learning, collaboration, and relationship building, reinforcing the value of such gatherings for the architecture and design community. A significant aspect of the event was its commitment to sustainability, with Material Bank generously offsetting the carbon footprint. The success of the re:Source event was also made possible by the support of numerous partners, including Accurate Lock & Hardware, Andreu World, Arktura, B+N Industries, Chemetal, Craftmade, Davis Furniture, Expormim, FiberBuilt Umbrellas & Cushions, Four Hands, Fyrn, Garden on the Wall, Haworth, Infinity Drain, Kaswell Flooring Systems, Lutron, Mak Studio, Matter Surfaces, Mizetto, Moroso USA, MPS Acoustics, Nichiha Fiber Cement, Oyster Wellness, Parla Design, Perennials and Sutherland, Pure + FreeForm, Regupol, Rockfon, Sancal, Sloan Valve, Turf, Tuuci, Versteel, Williams-Sonoma, Inc. Business to Business, and Yellow Goat Design. These partnerships underscored the collaborative spirit of the event and its dedication to advancing the design industry. #DesignEvent #ClientRelationships #InteriorDesign #ArizonaReSource #DesignManufacturers #ArchitecturalProducts #Networking #IndustryCollaboration #DesignDecisions

The restaurant industry, particularly in New York City, is characterized by its ephemeral nature, with establishments frequently closing or changing ownership. This rapid turnover poses a significant challenge regarding the longevity of interior design and the fate of materials used in these spaces. Dr. Carol Bentel, a partner at Bentel & Bentel Architects and Chair of the BFA Interior Design Department at the School of Visual Arts, addressed this issue at Design Talks 2019, a series of lectures hosted by Design Pavilion NYC as part of NYCxDESIGN events. Bentel highlighted that restaurant designs, on average, have a lifespan of only seven years. She illustrated this point with a personal anecdote involving Eleven Madison Park, a restaurant her firm originally designed in 1998 for restaurateur Danny Meyer. When the restaurant underwent a gut renovation by its new owners in 2017, they hosted a 'graffiti party' where walls were covered in paint before demolition, signaling the end of the original design. This event prompted Bentel to investigate the fate of designs created by her firm. Her research revealed that out of 58 restaurant projects her firm had designed, only 41 still existed, meaning nearly one-third had been dismantled or significantly altered. This led her to question what happens to the materials meticulously selected for these projects. Bentel cited further examples, such as the walnut flooring in the Rouge Tomate restaurant and the marble slabs and bronze columns in the Grand Hyatt New York lobby, both of which faced or are facing demolition, underscoring the impermanence of modern design. In response to this widespread issue of disposable design, Bentel proposed several solutions for creative reuse and more sustainable design practices. These suggestions included employing dismantling techniques that preserve materials, utilizing reusable surfaces for walls, floors, and ceilings, adopting panelized systems, specifying enduring materials that resist obsolescence, rethinking prefab construction, and designing with future obsolescence in mind to facilitate reuse rather than destruction. Bentel also issued a broader call to action for the design industry. She advocated for a greater appreciation for the durability of good design, the establishment of awards for initiatives focused on preserving existing structures and materials, and the development of programs akin to City Harvest. City Harvest, founded in 1982, collects unused food from restaurants and distributes it to those in need, diverting waste and addressing social issues simultaneously. Bentel suggested a similar model could be applied to design materials. While acknowledging that the trend of disposable design is unlikely to cease entirely, Bentel expressed optimism that its destructive and wasteful impacts could be mitigated. She concluded by emphasizing three core principles for designers and clients: resisting ephemeral fads, embracing authenticity in design, and striving for timelessness in their creations. By adhering to these principles, the design community can contribute to a more sustainable and less wasteful future. #DisposableDesign #SustainableDesign #RestaurantDesign #DesignLongevity #MaterialReuse #NYCxDESIGN #DesignTalks #InteriorDesignTrends #DesignWaste