Interview with Richard Duncan about Universal Design

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

Universal Design Studio (UDS), an architectural practice founded in 2001 by Edward Barber and Jay Osgerby, is celebrating two decades of groundbreaking work. Documented in their new book, 'Inside Out' (Phaidon), the studio’s success is attributed to its collaborative spirit, involving over 240 individuals throughout its history. Unlike traditional design firms that emphasize a singular artistic vision, UDS operates as an “experimental playground” where multiple thinkers contribute to a diverse portfolio of projects. These projects span retail spaces for luxury brands like Stella McCartney and Mulberry, hospitality ventures such as the Ace Hotel in Shoreditch and a cocktail bar for Fortnum & Mason, exhibition designs for the V&A Museum and Frieze Art Fair, and workspaces for IMB and Jimmy Choo. Barber and Osgerby initially established UDS to differentiate their architectural and interiors work from their product and furniture design studio. They recognized that while a multidisciplinary approach was common in Italy, it was less understood in the UK. This led them to create a new division focused on architecture and interiors, with a strong emphasis on collaboration. The studio maintains an egalitarian approach, where no single author dictates a project's direction. Instead, teams work collectively, valuing diverse perspectives to break new ground and challenge conventional thinking in each sector. UDS is also known for its commitment to reusing and repurposing existing buildings, prioritizing how spaces are utilized and how they serve their communities over demolition and new construction. Despite being an architectural practice, Osgerby notes that they primarily focus on interior and adaptive reuse projects rather than constructing new buildings from the ground up. Jason Holley, director of UDS, explains that the studio's principle is to work 'from the inside out,' focusing on human experience and the specific context of a building. This ensures that every design solution is tailored to its site and users, rather than adhering to a signature stylistic approach. Key projects illustrate UDS's impact. The Stella McCartney stores in New York and London, completed in 2003, were early successes, demonstrating the seamless integration of bespoke product, industrial design, and interior architecture. The custom-made tile used in these stores exemplifies the studio's philosophy of bringing the detail of furniture design to architectural spaces. In 2012, the interactive Google Web Lab at the Science Museum showcased UDS's ability to blend physical and digital worlds, creating an engaging space for technological exploration and storytelling. The Ace Hotel in Shoreditch, completed in 2013, marked a pivotal moment for both the studio and the surrounding neighborhood. UDS, despite having no prior hotel experience, embraced the challenge and collaborated closely with the Ace team. This project, which blended hotel functionality with local culture and casual workspace, became a significant contributor to the area's identity. This success led to a long-term partnership with The Office Group, for whom UDS designed Tintagel House and other workspaces. Looking ahead, co-director Paul Gulati identifies future areas of focus, including improving experiences in healthcare for the aging community and revitalizing high streets, leveraging their expertise in creating community-focused spaces. Mobility and electric vehicles are also areas of interest. Holley emphasizes the studio's goal of creating spaces that people deserve, seeking clients and collaborators who share their passion for openness and innovation. Osgerby reflects on the studio's core aim as recreating a 'campus atmosphere,' reminiscent of his time at the Royal College of Art, where interdisciplinary collaboration fostered productive and exciting exchanges of ideas. #UniversalDesignStudio #ArchitecturePractice #InteriorDesign #CollaborativeDesign #SustainableDesign #EdwardBarber #JayOsgerby #HospitalityDesign #RetailDesign

The concept of universal design, which aims to make spaces accessible to everyone regardless of age or physical limitations, is explored through the renovation experience of Jenna Reed-Côté, a wheelchair user. Initially hesitant to embrace universal design due to a desire to overcome physical challenges, Reed-Côté eventually committed to renovating her Vancouver condo with the help of interior designer Kendall Ansell. The renovation focused on transforming Reed-Côté's kitchen and bathroom to enhance her independence and safety. In the kitchen, 90-degree angles were eliminated from the countertop layout, replaced by gentle curves and obtuse angles, facilitating easier wheelchair maneuverability. Cabinetry under the counters was recessed, allowing Reed-Côté to get closer to essential work zones like the cooktop, prep surfaces, and sink, which helps maintain her center of gravity and reduce fall risks. Most counters were lowered to 34 inches, two inches below the standard, for improved comfort and visibility into pots. One section retained standard height to accommodate the dishwasher, although alternatives like dishwasher drawers were considered but deemed too costly for the budget. Overhead cabinetry was designed with pull-down shelves, making previously inaccessible items reachable. A chest-height oven with a side-opening door was installed, eliminating the need for precarious leaning and significantly reducing injury risk. These modifications, while specifically addressing Reed-Côté's needs, are presented as beneficial for all users, exemplifying the core principle of universal design. The bathroom renovations included modified counters and a shower bench for stability. The article also mentions the growing trend of 'smart' toilets that combine toilet and bidet functions, which can aid individuals with mobility issues and offer eco-friendly benefits by reducing toilet paper use. Interior designer Kendall Ansell highlights that these universal design adaptations not only improve functionality but can also serve as a selling point for resale, especially with an increasing focus on aging in place. A significant challenge discussed is the cost associated with universal design elements. Reed-Côté's renovation required higher-end finishes and custom cabinetry to withstand the wear and tear from wheelchairs and walkers. For instance, quartz countertops and backsplashes were chosen for durability and ease of cleaning, and specialized door handles were installed. The team also sought standard shallow sinks to avoid the expense of custom-made alternatives. The article concludes with the hope that sharing such renovation stories will build momentum for wider adoption of universal design principles, which could lead to a decrease in the cost of UD-related products. Reed-Côté expresses how her home, once merely a shelter, has become a place where she feels limitless and empowered to pursue her life goals. #UniversalDesign #HomeRenovation #AccessibleDesign #InteriorDesign #WheelchairAccessibility #KitchenDesign #BathroomDesign #AgingInPlace #AccessibilityStandards

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

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 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

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

Erick Mikiten, an architect and universal design expert, transformed a Berkeley home for a wheelchair user by integrating an inconspicuous elevator. Mikiten, who uses a wheelchair himself due to osteogenesis imperfecta, emphasizes that universal design should not compromise aesthetic appeal. His new firm, The Art of Access, aims to advocate for radical levels of universal design, demonstrating that accessibility and artistic design are compatible. The project in Berkeley involved Fran and her husband, Chris, who faced the decision of selling their century-old Craftsman-inspired home or undergoing extensive remodeling to accommodate Fran’s multiple sclerosis. They chose to remodel, and Mikiten’s approach differed from other architects by holistically integrating accessibility into the overall design. Before the remodel, Fran had difficulty leaving her 3,000-square-foot home due to 22 stairs at the entrance and multiple internal flights. Mikiten's solution involved tunneling back into the hillside from the garage and bringing the house's facade forward. This created a stack that allowed for an elevator shaft connecting all four levels. Instead of a simple elevator shaft, he incorporated it into a larger addition, creating nooks on the upper floors and an improved exterior entry experience with a new arbor. The nooks on the third and fourth floors made these rooms more interesting, and bookshelves around the elevator walls disguised blank spaces, making the design feel more intentional. Additionally, a laundry space was converted into an in-law unit for a future caregiver or their college-aged son, and the primary bathroom was rearranged without moving walls to be wheelchair-friendly. Mikiten highlights that universal design should consider diverse needs, not just specific disabilities. He argues that often, perceived trade-offs in design occur because accessibility is treated as an afterthought rather than an integral part of the initial design process. He believes that building spaces that cater to a single condition limits future freedom, advocating for flexible designs that accommodate changes over time. The architect acknowledges that adding an elevator can be expensive, but much of universal design can be achieved through thoughtful planning and smart choices that don't necessarily increase costs. This includes decisions like allocating extra space for a bathroom or selecting appropriate fixtures and smart home features. He points out that the architectural profession often views ADA compliance as an add-on, whereas he sees it as a minimum standard from which to build greater accessibility and inclusion. The article also discusses the growing demand for "aging-in-place" driven by the Baby Boomer generation, coupled with soaring housing costs and the rise of multigenerational living and Accessory Dwelling Units (ADUs). Mikiten observes a shift in mindset, with more people planning for future accessibility needs proactively, rather than reactively in times of crisis. This proactive approach, he notes, provides flexibility for homeowners to accommodate aging parents or adult children, and even to downsize into ADUs themselves, alleviating housing pressures across generations. He also sees an increasing expectation for inclusion among younger generations, particularly in tech workplaces, which suggests a broader shift towards a more universally designed built environment for everyone, throughout their lives. #universalDesign #agingInPlace #accessibleDesign #homeRenovation #architecturalInnovation #disabilityAdvocacy #multigenerationalHousing #residentialArchitecture #berkeleyHome

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

This interview features Jason Holley and Paul Gulati of London-based Universal Design Studio, known for their bespoke approach to design that prioritizes user experience and sensibility over fleeting styles. Both designers recall early inclinations towards creation; Holley's interest in architecture emerged from a desire to make things, while Gulati's obsession with drawing led him to understand design as a practical endeavor. Holley recounts a childhood anecdote where he convinced his grandfather to tear down a built-in wardrobe to create a more effective bedroom space, much to his parents' dismay. Gulati remembers drawing on old engineering prints, which instilled in him an understanding of design's functional purpose. Holley pursued architecture at Kingston University and Westminster University, drawn to their experimental approaches and interdisciplinary collaboration, particularly under the influence of David Greene of Archigram. Gulati's university studies transformed his perception of space and the built environment. When discussing how they imbue projects with distinctiveness while maintaining their signature, Holley emphasizes understanding social implications and defining experiences that respond to user needs, aiming to uplift spirits. This process, he explains, creates a unique voice for each project that reflects their signature approach. Gulati highlights the importance of embedding hotels within their local creative communities. They cite challenging projects they are particularly proud of. For Holley, the At Six Hotel in Stockholm presented the challenge of integrating a world-class art collection into a luxury hotel within a Brutalist building in a lesser-known area, ultimately succeeding in creating a social space centered on engagement and storytelling. Gulati points to the Ace Hotel in Shoreditch as a rewarding project, their first hotel, which demanded success due to its proximity and the desire to create layered, convivial, and informal spaces. The intention was to deeply integrate the hotel into the local creative community, yielding results that exceeded their expectations. Looking ahead, Holley is enthusiastic about their newly established New York studio, viewing it as a natural progression given their existing projects in the city and the strong collaborative spirit they appreciate there. Both designers share inspirations beyond their immediate field. Holley admires the Dutch artist Constant Nieuwenhuys's architectural project, New Babylon, which explored a future city model that put people at the center of their environments, allowing them to design their own spaces and selves. Gulati continues to be inspired by the work of Alvar Aalto. Their dream projects reflect these inspirations; Holley dreams of realizing New Babylon, while Gulati envisions planning and designing a new city or sector as part of a wider team. He believes collaboration and applying human-centered design principles on a larger, city scale are crucial for promoting wellbeing and democratizing knowledge. When asked about dinner companions, Holley chooses novelist J.G. Ballard, expecting conversations on psychology, time, and technological fetishism. Gulati would choose his late father to share updates and stories. They would dine at Odette in Singapore, a Universal Design Studio project, or an Ottolenghi restaurant in London, respectively. If not designers, Holley would run a bakery specializing in one perfected type of bread, while Gulati would create soundtracks for films or spaces, drawing on his electronic music background. #UniversalDesignStudio #HospitalityDesign #ArchitecturalDesign #InteriorDesign #LuxuryHotels #CreativeProcess #DesignPhilosophy #UserExperience #HotelDesign

Momina Watton, the visionary founder of Atelier278, shares insights into her creative journey and the philosophy behind her furniture designs, which emphasize modern aesthetics, natural materials, and meticulous craftsmanship. Watton's design philosophy is characterized by a "classic with a twist" approach, evident in her personal style and the interiors of her apartment, which combine luxurious materials like marble, linens, and velvets with contemporary chrome and stainless-steel accents, creating unexpected yet harmonious pairings. This consistent aesthetic has been a part of her life since childhood, with her interiors brand, Atelier278, solidifying these long-held inspirations. Her creativity, though not formally studied in art or design, manifested in everyday activities from a young age, such as elaborately setting tables for Saturday morning breakfasts. This innate creative drive eventually led to her career in furniture design. A significant source of inspiration for Watton is Roman architecture, particularly its enduring use of natural stone. The timeless appeal of marble columns and travertine buildings serves as a constant reminder that classic design and natural materials possess lasting relevance. This appreciation for the historical use of stone informs her contemporary pieces, ensuring they feel both ancient and modern. Watton's transition into furniture design was unexpected. Formerly working in beauty PR, the pandemic provided her with an opportunity to explore her passion for interiors. She began by sharing her interior finds on Instagram, which led to sourcing vintage marble furniture for notable figures like Bettina Looney and Suki Waterhouse. This experience eventually spurred her to design and create her own pieces. A memorable acquisition was a vintage marble coffee table, discovered in a reclamation yard, which now resides in the home of Vogue Commerce Director, Naomi Smart. This find underscores Watton's ability to see potential in overlooked objects and her talent for transforming them. Her mother's strong, independent sense of style significantly influenced Watton, teaching her the importance of authenticity in personal expression. When it comes to color, Watton expresses a deep affection for green, from vibrant matcha to earthy olive tones, valuing its versatility and pleasing aesthetic in interiors. Green onyx, in particular, is a favored material for her accessories due to its natural texture and rich color. Travel, especially to Copenhagen, also provides rich inspiration. She admires brands like FRAMA and Yonobi Studio for their immersive experiences that extend beyond mere shopping, fostering a sense of community. Collecting glassware is another passion, as Watton believes the vessel can enhance the drinking experience. Her collection spans diverse origins, from Marrakech mint tea glasses to Parisian wine glasses and cut crystal tumblers for negronis, necessitating a dedicated cabinet in her kitchen. In terms of media, she is drawn to films with exceptional art direction and escapist qualities, citing "Call Me By Your Name," "The Talented Mr Ripley," and "A Single Man" for their incredible interiors and settings. Music also plays a crucial role in her creative process, with playlists featuring artists like Arooj Aftab, Sufjan Stevens, The Cure, Mazzy Star, and The Cranberries. Cooking is another creative outlet, with her signature dish being a sea bass recipe inspired by a restaurant in the south of France. Watton holds admiration for fellow designers, particularly the team at Banda, whose interior designs she finds consistently beautiful. The work of the Bille Brahe family, including Frederik's restaurants and Sophie's jewelry, also serves as inspiration. Among her own creations at Atelier278, the Ellipse Dining Table in Unfilled Romano Travertine, designed for Rosie Huntington-Whiteley, stands out for its organic finish and statement presence. The Octavia Console is also highly popular, largely due to the demand for custom-sized console tables that are often difficult to find. Her accessories, such as coasters, are celebrated for their blend of functionality and style. #FurnitureDesign #InteriorStyle #NaturalStone #Atelier278 #DesignInspiration #MominaWatton #ClassicWithATwist #RomanArchitecture #HomeDecor

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

The article presents a conversation between Kanye West and his interior designer Axel Vervoordt, focusing on design philosophy, artistic collaboration, and their shared vision for creating timeless spaces. The discussion, moderated by a representative from The Hollywood Reporter, took place at Yeezy's Calabasas offices and was timed with the release of Vervoordt's memoir, 'Axel Vervoordt: Stories and Reflections.' Kanye West initiates the conversation by recounting his first encounter with Vervoordt's work at The European Fine Art Fair, describing a striking coffee table that evoked a sense of timelessness and soulfulness. Vervoordt reciprocates, highlighting West's immediate passion for art and design and their mutual dedication to continuous learning and improvement. He emphasizes the importance of serving people through their work, a sentiment West frequently expresses regarding his family and wider audience. Delving into Vervoordt's background, the designer shares how his instincts for art, design, and interiors originated from childhood experiences, appreciating the beauty in humble things. He discusses his journey as an art dealer, curator, and designer, emphasizing his eclectic eye and ability to blend different genres and time periods. Vervoordt recounts how his travels and early experiences buying antiques and art shaped his understanding of living with beautiful objects in a casual, spirited way, contrasting it with the display of wealth without genuine connection. He describes his evolution from collecting surrealist works to embracing artists like Lucio Fontana, who created new dimensions and spaces, and Gunther Uecker, whose nail art he initially found aggressive but later understood as deeply spiritual and focused. The conversation touches on their personal lives, with Vervoordt admitting to a limited engagement with television and news, preferring to maintain an open mind free from negative influences. West, similarly, prefers documentaries and selectively engages with media, such as the Olympics. Both artists acknowledge the constant struggle with ego in their creative processes. Vervoordt shares the story of acquiring his 12th-century castle in 1984, which he and his wife meticulously restored, and how he eventually felt a deep connection with the structure, transforming it into a living entity that continues to evolve. West expresses his profound admiration for Vervoordt's ability to mix old and new, Eastern and Western elements, recognizing him as an originator of this influential style. Vervoordt likens his approach to organizing a dinner party where diverse individuals converge, creating an inspiring exchange. Both agree on the concept that all time is now, with the past and future being present in the moment. West introduces his philosophy book, 'Break the Simulation,' and his nuanced view on photographs, which he believes can distract from the present by fixating on memories or future aspirations. He connects this to fashion, advocating for timeless design over fleeting trends. The discussion then shifts to their collaborative project on a new community development in Los Angeles. West envisions their work as representing humanity for centuries to come, emphasizing the significance of designing spaces that communicate an understanding of proportion and affect human mood positively. He criticizes designs driven by ego or lack of responsibility and expresses a desire to make high-sensibility design accessible to everyone, transcending traditional class distinctions. Vervoordt concurs, highlighting the importance of connecting with the origin of nature and striving for timelessness in their creations. The conversation also includes West's reflections on Virgil Abloh's appointment at Louis Vuitton, framing it as a moment of creative challenge and a reminder of the cyclical nature of loss and gain. He articulates his evolving ambition to move beyond being a 'number one brand' towards a more impactful, UNICEF-like approach, channeling information to help as many people as possible. Vervoordt supports this, stating his own lifelong pursuit of doing his best rather than being the best, drawing a parallel to the spiritual connection he seeks in dressage. They conclude by discussing the deceptive nature of the word 'dream' in the context of fashion, advocating for actionable ideas and 'community' over 'company' or 'brand.' #KanyeWest #AxelVervoordt #InteriorDesign #DesignPhilosophy #TimelessDesign #ArtisticCollaboration #Architecture #Yeezy #CreativeProcess

The article highlights the critical need for Universal Design in American homes, emphasizing that contemporary housing largely fails to accommodate the diverse needs and abilities of its residents. It centers on the story of Rosemarie Rossetti, whose life-altering spinal cord injury in 1998 rendered her previous home largely inaccessible. This personal experience spurred her and her husband, Mark Leder, to embark on a journey to create a home that epitomizes Universal Design principles, which advocate for environments and products accessible to all, irrespective of age, size, or ability. Rossetti's challenges post-injury underscore the shortcomings of conventional home design. Simple tasks became formidable obstacles, revealing how standard layouts and features—like narrow doorways, thick carpets, and high counters—create significant barriers for individuals with mobility issues. Her basement office, previously central to her publishing business, became unusable, ultimately leading to the closure of her company. This realization fueled her determination to design a home that would support her evolving lifestyle and serve as a model for others. After an unsuccessful search for existing accessible homes, Rossetti and Leder decided to build their own custom residence, the Universal Design Living Laboratory (UDLL), in Columbus, Ohio. They collaborated with local architect Patrick Manley and extensively researched accessible home design, drawing inspiration from independent-living centers and literature on Universal Design. This approach provided them with hope, demonstrating that thoughtful design could address their needs without compromising aesthetics or functionality. The UDLL, completed in 2014, is a LEED Silver-certified national demonstration home that incorporates numerous Universal Design features, such as 36-inch wide doorways, tiered countertops, curbless showers, and elevated dishwashers. These elements are designed to accommodate both Rossetti, who uses a wheelchair, and Leder, who is over six feet tall, proving that Universal Design can cater to a wide range of physical characteristics. The UDLL serves as a living resource, educating visitors on the practicality and aesthetics of Universal Design. Rossetti actively advocates for its wider adoption, dispelling the misconception that accessible design looks institutional. She emphasizes that Universal Design benefits everyone, not just those with disabilities, by promoting safety, convenience, and independence for all family members, from children to seniors. The article connects Rossetti's personal initiative to broader discussions about inclusive design, referencing exhibitions like "Access + Ability" at the Cooper Hewitt, Smithsonian Design Museum, and "Without Walls: Disability and Innovation in Design" at the Victoria & Albert Museum. Furthermore, the piece highlights a National Building Museum exhibition, "Making Room: Housing for a Changing America," which showcases how American households have diversified significantly over the past six decades. The exhibition argues that housing design has lagged in adapting to these demographic shifts, with nuclear families no longer being the dominant household type. The rise of single-adult households, couples without children, and multi-generational living arrangements underscores the increasing demand for flexible and adaptable housing solutions. Universal Design is presented as a crucial strategy to meet the needs of this diverse population, offering adaptable living spaces that can evolve with residents' changing circumstances. Rosemarie Rossetti’s efforts, including her self-published "The Universal Design Toolkit" and her consultations with organizations like Habitat for Humanity, exemplify a commitment to fundamentally rethinking home design to be inclusive and forward-thinking, urging designers and builders to integrate these principles from the outset. #UniversalDesign #AccessibleHomes #HomeAdaptation #InclusiveDesign #DisabilityAccess #ResidentialArchitecture #AgingInPlace #HousingInnovation #DesignForAll

The quality of life in cities significantly impacts human lifespan, with differences potentially spanning two decades, according to the WHO. The World Health Organization's 2001 International Qualifications Framework for Health (ICF) highlights that most individuals will experience some form of temporary disability due to factors like illness, age, or pregnancy. This perspective reframes disability not as a minority issue, but as a universal human experience. This shift underscores the importance of inclusive urbanism, barrier-free design, and universal access, moving beyond basic 'accessibility' discussions to widespread implementation, particularly in the US, Canada, and Europe. This article explores the progression of inclusive design, its philosophical underpinnings, and its current status in Ukraine. In the United States, the Americans with Disabilities Act (ADA) Standards for Accessible Design, established in 1991, marked a significant legal framework. While violations persist, the American legal system effectively enforces these standards through litigation. This has solidified inclusive design as a civil rights concept, a result of hard-won battles against initial resistance from state and corporate entities. Pioneering figures like industrial designer Patricia Moore faced resistance in advocating for design solutions that accommodated diverse needs, illustrating the historical struggle. An early example of adaptive architecture is Frank Lloyd Wright's Laurent House (1952), designed for a wheelchair-bound World War II veteran. Wright incorporated features like gentle ramps, wide doorways, and ergonomically placed fixtures, demonstrating that adaptive design can coexist with aesthetic appeal. Today, the Laurent House serves as a museum, a testament to this principle. While private, adapted mansions are now common, the urban environment required a more widespread fight. Activist Ed Roberts, partially paralyzed by polio, spearheaded the movement for accessible urban environments. His persistence led to the conversion of a university ward for his accommodation and, subsequently, the formation of the 'Rolling Quads' – a group that used radical methods, including smashing curbs, to advocate for accessibility. This activism, alongside broader civil reforms of the 1960s and 70s, culminated in the signing of the ADA in 1990. Ronald Mace, an architect and industrial designer also affected by polio, was another pivotal figure. He developed the first US building accessibility code in 1973 and coined the term 'universal design.' This concept goes beyond minimum accessibility, aiming for aesthetically pleasing and comfortable environments usable by everyone, regardless of age, ability, or status. Mace formulated seven principles of universal design: equitable use, flexibility in use, simple and intuitive use, perceptible information, tolerance for error, low physical effort, and appropriate size and space for approach and use. These principles were applied in the reconstruction of the World Trade Center site, including the 9/11 Memorial, where subtle slopes replaced stairs, and monument details were made visible to individuals of varying heights and mobilities. The Ed Roberts Campus in Berkeley, a world model for accessibility, exemplifies universal design principles, featuring acoustic landmarks, high-contrast decor, textured floors, remote-controlled elevators, and a spiral ramp. The building also prioritizes natural materials and advanced air filtration for those with environmental sensitivities. Terms like 'universal design' (US), 'inclusive design' (UK, Central Europe), and 'design for all' (Nordic countries) are largely synonymous, reflecting a global movement towards accommodating diverse needs in infrastructure and public spaces. 'Design to the Edges' is a more recent term that emphasizes designing for extreme user parameters to achieve versatility. Originating from a mid-20th century US Air Force study that found only a small percentage of pilots fit 'average' anthropometric data, this approach advocates for adjustable designs that cater to the broadest possible range of users. This principle leads to innovations like adjustable car seats and multifunctional urban elements. In contrast, Ukraine's progress in inclusive design lags despite ratifying the UN Convention on the Rights of Persons with Disabilities in 2009. Accessibility is often addressed reactively and inadequately. Examples include the delayed adaptation of parliamentary premises for a wheelchair-bound MP and instances of poor hospital design. Ukrainian cities grapple with fundamental issues like pedestrian mobility, with traffic light timings often prioritizing vehicular flow over pedestrian needs, particularly for those with reduced mobility. The lingering effects of Soviet-era neglect have fostered a 'learned helplessness' among many disabled individuals, who remain largely confined to their homes. However, individual initiatives, such as landscape designer Yuliya Polyanska's inclusive flowerbed project, offer glimpses of progress and advocate for sensory gardens. The challenges include lack of funding, absence of governmental programs, and vandalism. The broader implication of these struggles is that true inclusiveness is not about an accumulation of ramps but a fundamental rethinking of environmental design. In the digital age, inclusivity extends to corporate practices and UX design, benefiting a wide range of users beyond those with disabilities. Despite some famous architects still failing to implement inclusive designs, the pursuit of universal design continues. Ultimately, inclusive design represents a new elegance for cities, reflecting a humane and thoughtful approach to urban planning that offers comfort and dignity to all, often in subtle and harmonious ways. #inclusiveDesign #universalDesign #urbanism #accessibility #disabilityRights #barrierFree #architecture #urbanPlanning #socialEquality