See How This Artek + Heath Collaboration Came Together to Reimagine a Classic

The article details an unexpected collaboration between interior designer Kerry Joyce and artist Marian McEvoy, sparked by a social media connection. Joyce, known for his interior design work, discovered McEvoy's intricate collages of natural elements on Instagram, specifically under the handle @gustthepoodle. Intrigued by her unique artistic style, Joyce researched McEvoy and learned about her prominent background as a former editor-in-chief of ELLE DECOR and House Beautiful, as well as an editor for Women’s Wear Daily and W. This discovery led to a personal visit to McEvoy's home and studio in Wappingers Falls, New York. During this visit, Joyce recognized the potential to translate McEvoy's distinct artistic vision into fabric designs. He expressed his admiration for her creative energy and his conviction that her designs would be ideal for textiles. The collaboration materialized into a collection featuring five black-and-white botanical watercolors by McEvoy, which were then printed onto linen in ten different colorways. The collection showcases various nature-inspired motifs, including dotted leaves, whimsical vines, and striped florals, all stemming from McEvoy's imaginative work. McEvoy shared her perspective on this new chapter in her career, attributing her refined sense of color, style, and quality to her extensive experience in the fashion industry, particularly her 17 years spent in Paris working with couturiers like Yves Saint Laurent. She expressed gratification at the current level of interest in her work, especially at 73 years old, and highlighted the positive experience of collaborating with someone who genuinely appreciates and acts upon her artistic contributions. The success of this initial collection has already paved the way for a second collaboration between Joyce and McEvoy, scheduled for 2022, underscoring the fruitful nature of their partnership. The story, originally published in the September 2021 issue of ELLE DECOR, exemplifies how digital connections can evolve into tangible and impactful creative endeavors within the design world. #FabricDesign #DesignCollaboration #InteriorDesign #MarianMcEvoy #KerryJoyce #SocialMediaInfluence #TextileArt #BotanicalPrints #ELLEDECOR

German artist Thorsten Brinkmann has embarked on his largest private art piece, transforming a dilapidated 1912 family home in Pittsburgh's Troy Hill neighborhood into a permanent art installation called 'La Hütte Royal.' The house was acquired in 2011 by local art collector Evan Mirapaul, who was inspired by the Art House Project on Naoshimi Island in Japan, where artists revitalize abandoned properties. Mirapaul invited Brinkmann to reimagine the neglected structure, which outwardly appears as a typical suburban house, to challenge perceptions of what lies within such unassuming facades. Brinkmann's vision has resulted in a complete overhaul of every room across the three main stories, including the basement where he installed a boxing ring. Visitors entering La Hütte Royal are immediately confronted by an enormous bell, a salvaged prop from a children's television show, setting the tone for the eccentric experience. The artist has ingeniously manipulated the house's internal structure by introducing new walls, creating intentionally narrow corridors and unexpected, unsettling nooks and crannies that disorient and engage visitors in a spatial puzzle. A central theme of 'La Hütte Royal' is creative reuse, with Brinkmann incorporating a vast array of found objects into his installation. Many of these items were discovered within the house itself or sourced from the local neighborhood, including old vinyl LPs. These salvaged materials are integrated into various artistic statements throughout the house, offering a narrative rooted in the property's history and surroundings. For instance, a home theatre located in the attic features vintage beauty parlor hairdryer stations meticulously arranged in neat rows, transforming functional items into a quirky display. Mirapaul emphasizes the contrast between the house's ordinary exterior and the imaginative world within, hoping the project will inspire viewers to consider the elaborate lives and stories that can be hidden behind conventional appearances. Brinkmann's use of materials found on-site or nearby makes the transformation deeply personal and poignant, highlighting a connection to the specific locality of Pittsburgh. He views 'La Hütte Royal' as a Gesamtkunstwerk, a total work of art, where his varied artistic practices—installations, photographs, sculptures, and videos—converge and where the boundaries between life and art dissolve. The installation includes specific artistic elements such as the artist's photographs and custom-designed wallpaper in the front foyer. One hallway features a dizzying wallpaper pattern that visitors must crawl through to access hidden rooms, further enhancing the interactive and immersive experience. Sculptures in the basement are crafted from found objects within the house, combined with Brinkmann’s own sculpted body parts, adding a surreal and personal touch. Another room is elaborately decorated with LPs and found objects, interspersed with Brinkmann’s sculpted ears and photographs, illustrating his distinctive artistic language. The whimsical boxing ring in the basement, complete with the artist's sculpted hands, was created in response to dilapidated fitness equipment found in the house, showcasing his ability to transform mundane objects into art. Vintage movie posters found in the house also line a hallway, contributing to the layered narrative of discovery and reinterpretation. 'La Hütte Royal' is located at 1812 Rialtostreet, 15212 Pittsburgh, inviting the public to explore this unique blend of art, architecture, and personal history. #ArtInstallation #ThorstenBrinkmann #LaHütteRoyal #PittsburghArt #FoundObjects #CreativeReuse #Gesamtkunstwerk #ExperientialArt #ArchitecturalTransformation

Stillmade, a Brooklyn-based furniture manufacturer and designer known for its support of emerging designers, has launched its inaugural Collaborative Series. This new initiative combines Stillmade's manufacturing capabilities with the creative visions of four distinct artists and designers: Danny Kaplan, Pat Kim, Michele Quan, and Stillmade's founder and creative director, Paul Mignogna, through his Mignogna Studio. The series features a collection of furniture pieces, including a sofa, credenza, hutch, side table, and two coffee tables, each reflecting a blend of artisan craftsmanship and a modern aesthetic. The collaboration with Pat Kim, a celebrated industrial designer and artist, introduces a playful and sculptural element to the series. His contributions include the Kim Coffee Table and Kim Side Table. These pieces are distinguished by their organically shaped bases, finished in hand-troweled, lime-based plaster. Sculpted wooden arms support circular tabletops, adding warmth and a natural touch to the contemporary designs. The interplay of materials and forms highlights Kim's unique aesthetic. Ceramicist Michele Quan's involvement marks her first foray into furniture design. For the Collaborative Series, her iconic celestial ceramic half-moon sculptures have been reimagined as functional cabinet pulls for two large-scale cabinet pieces: the Painted Credenza and the Painted Hutch. These pieces showcase a seamless integration of fine art into functional furniture, offering a distinctive and artistic approach to home storage. Danny Kaplan's Jane Coffee Table draws inspiration from Roger Capron's ceramic inlay tables. Kaplan designed a set of unique tiles that are set into the top of Stillmade’s minimalist solid wood table base. This design creates a compelling visual contrast between the base's clean lines and the organic geometry and textured surfaces of the rounded and oval-shaped tiles. The table exemplifies a harmonious blend of classic inspiration and modern execution. Paul Mignogna's own design practice, Mignogna Studio, contributes the Clifton Sofa to the series. This sofa prioritizes comfort and lounging while maintaining a sleek and minimal aesthetic. The design purposefully highlights Stillmade's manufacturing expertise through an exposed wooden frame and intricate joinery, demonstrating the brand's commitment to quality craftsmanship and thoughtful design. The Clifton Sofa embodies a contemporary approach to comfort and structural integrity. The Collaborative Series underscores Stillmade's decade-long commitment to making high-quality production accessible to smaller, innovative designers. By partnering with these artists, Stillmade not only showcases diverse creative talents but also reaffirms its dedication to producing furniture that embodies both artistic expression and functional elegance. The collection is a testament to the power of collaboration in the design world, resulting in unique and well-crafted pieces that bridge art and utility. #Stillmade #CollaborativeSeries #FurnitureDesign #ArtisanCraftsmanship #ModernAesthetic #HomeFurnishings #PatKim #MicheleQuan #DannyKaplan #MignognaStudio

This article details the transformation of an Art Deco apartment on Fifth Avenue, New York, by BUILTIN Studio for empty nesters, Linda and Ben McGrath. The apartment, which had not been renovated since its construction in 1948, presented a unique challenge and opportunity for the design team. Despite its functional layout and stunning Central Park views, the interiors required a complete overhaul to match the clients' desire for cosmopolitan living and flexible entertaining. Simon Babin, Studio Director at BUILTIN Studio, explains the design process, emphasizing the goal of creating a modern home with warmth and glamour. The redesign began by addressing the apartment's 'estate condition,' which meant outdated interiors. BUILTIN Studio, known for updating older apartments, focused on strategic changes to optimize space and views. A key aspect of the renovation was the reconfigured layout, designed to accommodate both large and intimate gatherings while highlighting the panoramic views of Central Park. The team aimed to infuse warmth into the interiors through a carefully curated color palette, inspired by vibrant stones and striking fabrics, all contributing to an overall Manhattan glamour. The main living room exemplifies this approach, featuring matte Venetian plaster walls that create a sense of lightness and warmth. The plaster, based on Benjamin Moore's 'Muslin' paint, was meticulously developed over several mockups to achieve a soft, tonal texture without appearing overly burnished. This choice significantly contributes to the room's inviting atmosphere, transitioning smoothly from daytime brightness to evening coziness. Continuity and connection between rooms were achieved through modern openings with bespoke trims that echo Art Deco's stepped lines and clean ornamentation. A clever use of textiles further enhances this connection, particularly between the primary bedroom and living room. Identical drapery carried throughout these spaces, combined with a subtle pocket door, creates an illusion of a larger, continuous space, especially when the park-facing windows appear unbroken with the door open. The fabric, Schumacher’s Deco Leaves, chosen in a neutral colorway, pays homage to the building’s Art Deco heritage and became a significant influence on the home's overall palette. The design process involved extensive collaboration with the clients, building selections around fabrics they found appealing. In the dining area, a space-saving yet sophisticated solution was devised: a built-in, gently curved banquette. This feature not only maximizes seating for at least six people but also creates a cozy, contained feeling. The banquette's upholstery, a Woodland Leopard Velvet textile by Schumacher in a golden colorway, became the inspiration for the room's warm and luminous palette. The renovation also introduced new portals, notably the connection between the galley kitchen and the dining area. This transition point was utilized for a dynamic color shift, moving from the dining area's honeyed glow to the kitchen's darker tones of green and yellow, effectively highlighting the architectural feature and encouraging social interaction around the peninsula. The bathrooms allowed for creative experimentation with stone, leading to the selection of richly veined materials with warm undertones. Two private bathrooms were designed for Ben and Linda, each with distinct material palettes and design elements catering to masculine and feminine preferences. Finally, the bedroom was designed as a calm retreat with clean lines and a contemporary palette, intentionally simpler than the owners' previous, more ornate space. This approach allowed their existing Biedermeier furniture to blend seamlessly, adding warmth without disrupting the serene aesthetic. Throughout the apartment, the overarching theme is a visual connection to the Manhattan cityscape, offering the empty nesters and their dog a fully updated and exciting new chapter of city life, where the twinkling city lights become an integral part of their home's charm. #ArtDeco #ManhattanApartment #InteriorDesign #BUILTINStudio #HomeRenovation #ColorPalette #EmptyNesters #LuxuryDesign #FifthAvenue

RH, a prominent home furnishings retailer, has launched RH Contemporary, a new business branch that significantly expands its product offerings through collaborations with a diverse array of global designers. This initiative marks RH's most substantial concept launch since RH Modern in 2015, reinforcing the company's ambitious growth trajectory. The new collection encompasses a wide range of items, from large furniture pieces such as sofas, beds, wardrobes, and outdoor furniture, to lighting, textiles, and decorative objects. The launch of RH Contemporary follows other significant developments for the company, including the unveiling of RH San Francisco, the acquisition of private planes and a yacht for charter, and plans for future locations in Manhattan, Oxfordshire, Paris, London, Milan, and an 'RH Ecosystem' in Aspen featuring the company's first spa. The development of RH Contemporary began prior to the pandemic, with RH leadership strategically using that period to focus on long-term growth initiatives rather than short-term revenue pursuit. A key aspect of RH Contemporary is its multi-tiered approach to elevating production standards and materials. This includes a partnership with Holland & Sherry, an established Savile Row tailor, to supply a comprehensive range of fine textiles for upholstery and curtains. Additionally, the collection features high-caliber Indian hand-loomed throws and pillow covers by textile artist Neeru Kumar, whose work has been acquired by the Victoria & Albert Museum. A significant portion of RH Contemporary's upholstered furniture, including modular leather seating and low linear sofas, is crafted in Italy. To achieve this, RH collaborated with expert Italian upholsterers, ALT in Romagna and Crivellari in Padova, whose founders are prominently credited on the RH website alongside the designers. Italian-sourced materials, such as travertine stone from outside Rome and Arabescato marble, are also widely used, although some fabrication occurs elsewhere. The emphasis on top-tier materials and production, including lacquered burl wood, hand-carved Spanish alabaster, and hand-applied plaster on lighting, is reflected in the collection's higher price points, with items like Jonathan Browning’s ‘Vouvray’ chandelier starting at over $35,000 and Joris Poggioli’s ‘Vitolo’ dining table starting at over $12,000. Gary Friedman, RH chairman & chief executive officer, notes that RH Contemporary items are priced approximately 30 to 35 percent higher than the current RH offerings. While large-scale furniture forms the core of the collection, smaller shoppable items are also included, such as vases and decorative dishes by Brooklyn-based ceramicist Dina Nur Satti, which incorporate her Sudanese and Somali heritage. Friedman expresses strong belief in RH Contemporary's potential impact, stating that it will likely have a greater influence on the company than RH Modern, not only from a design perspective but also in terms of quality. He anticipates that this new venture will redefine consumer perceptions of RH and expand its market aperture significantly. #RHContemporary #DesignerCollaborations #LuxuryFurniture #InteriorDesign #HighEndMaterials #ItalianCraftsmanship #GlobalDesigners #HomeFurnishings

Heath Ceramics, renowned pottery makers, has introduced 'Mural,' their latest addition to a series of pre-configured tile pattern combinations. The inaugural design within this series is named 'Twill,' which incorporates the 'Little Diamond' shape from their 'Dwell Patterns' collection. This unique pattern is distinguished by its use of six distinct glazes, creating a multidimensional and visually intricate effect. The combination of these glazes is carefully curated to produce a mind-tripping aesthetic, where the interplay of colors and textures adds depth and complexity to the overall design. The Twill pattern is available in eight different color ways, each meticulously designed to offer a dynamic configuration. These color ways integrate both matte and gloss finishes across the six glazes, allowing for a varied sensory experience. The glazes are strategically applied to enhance the multidimensional aspect of the tile, with each color way presenting a unique visual narrative. The inclusion of both matte and gloss elements ensures that the tiles not only offer a diverse visual appeal but also a tactile richness. Among the eight available color ways, several notable options are presented, each with its own distinct character. 'Arctic' offers a cool and serene palette, evoking images of icy landscapes. 'Rhythm' suggests a more energetic and flowing visual, possibly through a harmonious arrangement of colors and finishes. 'Yarrow' likely features a warm and earthy tone, drawing inspiration from natural hues. 'Alabaster' provides a classic, subtle, and perhaps luminous option, indicative of its namesake material. 'Black Walnut' hints at a deeper, richer color scheme, possibly incorporating dark and sophisticated tones. Further options include 'Tide Pool,' which might display a blend of blues and greens, reminiscent of shallow ocean waters. 'Old Growth' could feature colors and textures that evoke ancient forests, suggesting a natural and weathered aesthetic. Lastly, 'Denim' points to a familiar, comforting blue, possibly with a textured finish that mimics the fabric. These diverse color ways demonstrate the versatility of the Twill pattern, allowing it to adapt to various interior design styles and preferences. The introduction of Mural and its Twill pattern underscores Heath Ceramics' commitment to innovation in tile design, blending traditional craftsmanship with contemporary artistic vision. The multidimensionality achieved through the careful selection and combination of glazes and shapes offers a new avenue for interior designers and homeowners to create visually engaging and sophisticated spaces. The article highlights the intricate details and thoughtful design process behind these new tile patterns, providing insight into the aesthetic considerations and technical execution. #HeathCeramics #MuralTile #TwillPattern #TileDesign #InteriorDesign #HomeDecor #MultidimensionalPattern #CeramicGlazes #DwellPatterns

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

The article discusses the architectural installation "Spirit of the City" by London-based United Visual Artists (UVA) at A/D/O in New York, presented during New York Design Week. This installation is a collaboration with Mini, hosted in their innovative creative space, A/D/O. The primary goal of the installation is to offer a reflective experience within the dynamic urban environment, metaphorically and physically mirroring its surroundings and New York City at large. The installation consists of 9-foot-high modular columns that revolve, creating an immersive experience for visitors. The rotation patterns are not arbitrary; they are based on extensive research into human activity within the city. This research allowed UVA to develop a 24-hour algorithm that dictates the movement of the columns, transitioning from tranquil rhythms to more urgent, dynamic movements. As visitors navigate the space around these colossal totems, they can observe subtle shadows cast onto the ground, forming intricate, poetic patterns that respond to the kinetic energy of the columns. The surface of the columns themselves presents varying perspectives, shifting from serene sky blues to the grittier, industrial aesthetics of A/D/O's creative hub. This visual transformation further emphasizes the interplay between the installation and its urban backdrop. UVA, founded in 2003, is known for its art practice that integrates technology to create experiences that often extend beyond conventional physical boundaries. Their previous works have been showcased globally in prestigious institutions such as the Victoria and Albert Museum and YCAM in Japan. Matt Clark, founder of UVA, poses a fundamental question through "Spirit of the City": do human activities shape urban landscapes, or do urban landscapes, in turn, define human activities? This philosophical inquiry underpins the interactive and reflective nature of the installation. A/D/O itself, located in a converted warehouse in Brooklyn, opened the previous year, featuring a diverse array of design-focused retail, bars, and restaurants, aligning with Mini's broader design agenda. Mini's head of brand strategy and business innovation, Esther Bahne, states that Mini believes in design's capacity to foster a more humane world. A/D/O initially launched with Design Academy, a three-day festival for professional designers to explore cultural themes. "Spirit of the City" marks the space's first major showcase for NYCxDesign since its opening and was on display until 2 September. The installation, through its thoughtful design and interactive elements, invites contemplation on the symbiotic relationship between people and their urban surroundings. #NewYorkDesignWeek #ArchitecturalInstallation #UnitedVisualArtists #UrbanEnvironment #AdoSpace #MiniCollaboration #KineticArt #PublicArt

Studio Thomas, led by principal designer Kristen Thomas, undertook the renovation of a historic Tudor-style property in one of Denver's oldest neighborhoods. Built in 1912 by Jacques Benedict, the home featured intricate Gothic details, diamond-pane windows, and dentil molding. The design brief focused on creating a modern, liveable space that respected the home's original architecture while incorporating the owners' European heritage and curated lifestyle. The project successfully balanced contemporary design with the building's traditional elements, resulting in an elevated yet functional family home that reflects both its inhabitants and its rich history. The kitchen, identified by Kristen as her favorite room, served as the starting point and set the tone for the entire design. It was transformed into a luxurious yet practical space, wrapped in Panzano marble for countertops, backsplash, and the oven hood, blending minimalism with timeless grandeur. The marble's rich greens, deep blues, and creamy undertones dictated the home's overall color palette. This area had previously been renovated in a sterile, ultra-modern style that disconnected it from the rest of the house. Studio Thomas's intervention aimed to bridge this gap by reintroducing materials and details that honored the home's heritage, such as live-finish plumbing fixtures and classic cabinetry, while still accommodating modern living. A charming breakfast nook within the kitchen features a custom oval table designed for family gatherings, emphasizing intimacy over grand scale. The intentional use of varied textures and a carefully selected neutral palette, including dark wood floors, cream plaster walls, and Benjamin Moore's Baby Fawn for trim, ensured warmth and depth throughout the property. Antique brass fixtures were incorporated to provide an aged aesthetic that would gracefully evolve over time. The entryway showcases a blend of eclectic and curated elements, featuring checkerboard flooring that runs throughout the property, complemented by modern furnishings and a minimal color scheme. The original architectural framework, such as the custom-forged stair railing, was enhanced with contemporary touches. A cozy snug room deviates from traditional designs, offering a mix of formality and comfort through a dark color palette, rich fabrics, and metallic accents. A vintage brown leather armchair provides a lived-in quality, while a leafy houseplant adds freshness against the deep tones. The home bar, though compact, exudes grandeur with metallic accents, tarnished mirror walls, a marble countertop, and deep gray cabinets. Sculptural pieces, like an organic-shaped stool, introduce contemporary coolness. The living room exemplifies the seamless integration of the building's original infrastructure with Studio Thomas's interior design. The original ceiling molding was painted a rich green to highlight its beauty, and a custom curved sofa was commissioned to soften the rectangular space and improve balance. Layering warmth and softness was achieved through hand-plastered walls, which contribute to an old-world richness, and full French-pleated drapery that adds both luxury and relaxation, appealing to the European sensibilities of the clients. The dining area, framed by Gothic-style windows, blends historic and modern elements, featuring black-clad window frames in areas without original leaded glass and modern lighting. The thoughtful mixing of traditional dining furniture and Chinoiserie ceramics with a boucle sofa and a low-slung coffee table creates impressive harmony. Even small details, such as a simple wooden stool and rustic bowl in a hallway, were carefully curated to allow the original features to stand out. The master bedroom employs deep, earthy forest green tones for built-in cabinetry and the back wall, fostering a sense of warmth and coziness, enhanced by gold accents and balanced with neutral linen bedding. The walk-in closet maintains a minimal yet timeless elegance, with gold accents and a statement chandelier, ensuring both sophistication and practicality for daily living. The master bathroom, quiet and minimal, features Taj Mahal stone counters, plastered walls, and live-finish plumbing fixtures, with personalized details like shadowboxed vintage children's clothing and original artisan sketches that tell the family's story, embodying an effortless, beautiful, and purposeful design. Kristen Thomas describes the home as a thoughtful blend of old-world charm and contemporary design, rooted in tradition but with a fresh, edited sensibility, seamlessly integrating contemporary styles for modern life with traditional elements that honor the home's original features. This approach creates a design that is both authentic and timeless. This project exemplifies how modern design can integrate respectfully with historic architecture, creating a home that is both beautiful and deeply personal. Kristen Thomas's approach emphasizes meticulous curation, from the grand architectural details to the smallest decorative elements, ensuring that every space within the Denver home tells a story and serves its inhabitants' needs. The result is a home that feels both luxurious and lived-in, bridging centuries of design with grace and intentionality. The harmonious blend of traditional and contemporary elements is consistently applied across all rooms, creating a cohesive narrative throughout the property. Each design choice, from the kitchen's Panzano marble to the master bedroom's deep green, is meticulously considered to contribute to the home's unique character and a sense of enduring elegance. #TudorStyleHome #HistoricRenovation #LuxuryInteriors #TransitionalDesign #ModernEuropeanStyle #KitchenDesign #MarbleKitchen #NeutralDecor #ArchitecturalPreservation

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

At the Brooklyn Museum, artist Valerie Hegarty has implemented an exhibition titled "Alternative Histories," which reimagines the traditional, staid period rooms with a dynamic and disruptive intervention. Hegarty's work transforms three of the museum's decorative arts period rooms: the Cane Acres Plantation dining room, and the parlor and hall of the Cupola House. Instead of presenting these historical settings in their typical preserved and orderly state, Hegarty introduces elements of decay, disorder, and natural intrusion, prompting visitors to reconsider established narratives and the pristine portrayal of history. In the Cane Acres Plantation dining room, the expected scene of refined dining is subverted by the presence of crows. These birds are depicted pecking at vibrant, amorphous blobs of fruit scattered across the dinner table, attacking paintings, and leaving a trail of crumbs, creating a chaotic and untamed atmosphere. This installation, specifically featuring works like "Tablecloth with Fruit and Crows" and "Still-Life Paintings with Crows," challenges the serene and idealized representation of antebellum Southern life. The Cupola House's parlor also undergoes a significant transformation. Here, a portrait of George Washington is altered, showing his face grotesquely fallen from the canvas, symbolizing a disruption of historical figures and their iconic status. Below the portrait, a Native American-patterned rug appears to be decaying, a commentary on the often-overlooked or suppressed narratives within American history. Hegarty’s works in this space, including "Native American Chief (Sharitarish) with Branches" and "Native American Rug with Marsh Grass," highlight themes of destruction and the re-evaluation of colonial legacies. Further within the Cupola House, in its hall, a painting and various furniture pieces are marred with holes that resemble bullet wounds, which have since oxidized, suggesting violence and the passage of time. This particular intervention features pieces like "The Pic-Nic with Downy Woodpecker" and "Dishware with Holes," and creates a visual narrative of historical erosion and damage. Hegarty's approach generates an immersive experience that causes visitors to question the authenticity and completeness of historical displays. The exhibition has evoked notable reactions from museum-goers, ranging from amusement and confusion to appreciation for the museum's willingness to host such a provocative display. The installations intentionally disrupt the conventional museum experience, leading to inquiries about the artist's focus on themes of destruction and decay. By actively altering these historical environments, Hegarty prompts a critical examination of how history is curated, presented, and understood, offering an 'alternative history' that is messy, incomplete, and subject to natural and human forces. The exhibition provides a critical lens through which to view decorative arts and their historical contexts, inviting a deeper, more nuanced engagement with the past. #BrooklynMuseum #ValerieHegarty #AlternativeHistories #PeriodRooms #ArtInstallation #HistoricalReimagination #ContemporaryArt #DecorativeArts #MuseumExhibit

The article explores the collaboration between designers Stephen Burks and Malika Leiper of Stephen Burks Man Made, and the Italian wood veneer company Alpi, to translate the intricate patterns of Kuba cloth into a contemporary design product. Kuba cloth, a raffia textile handcrafted by the Kuba people of the Democratic Republic of Congo, originated in the 17th century and served as a significant status symbol among the ruling class. While it was once thought that the tradition of Kuba cloth declined after the kingdom's fall due to internal rebellions and colonization, Burks and Leiper discovered during a visit to Kinshasa that this ancient art form is, in fact, thriving among a new generation of artists and makers in villages. Burks clarifies that the perception of Kuba cloth as a 'dying artform' is a Western misconception, often influenced by the commodification of 'prestige cloths.' His and Leiper's practice, Stephen Burks Man Made, is dedicated to demonstrating the current vitality of Kuba art, emphasizing that for Kuba to have a future, it must have a present. Their efforts include producing a documentary, curating an exhibition in Japan, and designing the scenography for an upcoming show at the Mint Museum in Charlotte, North Carolina, all centered on their research into Kuba cloth. A pivotal project in their endeavor is the collaboration with Alpi, a company established in 1919 and renowned for its designer collaborations with figures such as Ettore Sottsass, Alessandro Mendini, Konstantin Grcic, Patricia Urquiola, and Ron Arad. Alpi's president, Vittorio Alpi, expresses a passion for experimentation and invites designers to create unique pieces that push the boundaries of industrial production, granting three-dimensionality to Alpi surfaces. At Design Miami 2025, Burks and Leiper unveiled their collection of sculptural furnishings, titled 'Lost Cloth Object,' which translates the geometric patterns of traditional Kuba textiles. This collection, presented as part of the fair’s 2.0 section curated by Glenn Adamson, serves as a conceptual starting point for a commercial veneer that will be developed with Alpi. Burks highlights that their practice consistently investigates the intersection of craft, community, and industry. The design process involved creating a Kuba-inspired motif using thousands of laser-thin sheets of FSC-certified poplar veneer, a technique that embodies both repetition and variation, mirroring the inherent qualities of Kuba cloth. Leiper explains that each motif in Kuba cloth carries social meaning, indicating the maker or wearer, and often mimics natural shapes, acting as a language in itself. The use of variegated veneers from Alpi’s Legacy Collection adds another layer of significance, as these veneers replicate the appearance of endangered wood species like ebony, teak, rosewood, and zebrawood, without contributing to deforestation. Vittorio Alpi notes that this collection allows for the reproduction of rare woods sustainably. The 'Lost Cloth Object' collection features a curved platform, round stools, and a circular partition with integrated shelving, designed to evoke both Alpi’s postmodern collaborative tradition and the sacred, ceremonial contexts in which Kuba cloth is traditionally used. While the specific sculptural objects will not be mass-produced, the 'Lost Cloth Object' pattern is intended for further development as a commercial veneer. Burks concludes that the project honors the traditions of the Kuba Kingdom by combining African patterns with natural wood in a sculptural, modern application, connecting to Alpi's legacy of surface design. #AfricanTextile #KubaCloth #StephenBurksManMade #Alpi #DesignCollaboration #VeneerDesign #Craftsmanship #DesignMiami #CulturalPreservation

The article details a collaborative campaign between Swedish fashion brand Totême and interior designers Halleroed, which uses a series of perspective-shifting images and 3D installations to celebrate their home city of Stockholm. Totême founders Elin Kling and Karl Lindman conceived the campaign with a strong focus on the geography and introspection afforded by their city, aiming to integrate fashion, lifestyle, and architectural elements. The campaign features photographs by Mikael Jansson, a renowned photographer admired by Totême for his work with luxury brands like Chanel, Brioni, and Dior. Jansson's contribution involved documenting an imagined day in Stockholm, capturing scenes such as a model dining at Teatergrillen, shopping at Hötorget market, and architectural facades, including Totême’s design studio. The collaboration with Jansson was facilitated by the restrictions that kept the creative team within Stockholm, which, according to Lindman, enhanced the campaign's value by utilizing local talent. Halleroed, long-term collaborators with Totême, were responsible for the 3D installations. Known for their sleek, materiality-focused retail spaces for brands such as Acne Studios and Byredo, Halleroed previously designed Totême's Art Deco-centric townhouse and its graphic space in Nordiska Kompaniet. Their affinity for Swedish materials is highlighted, and their architectural expertise was crucial in translating Totême's vision into physical manifestations. For this campaign, titled 'A Stockholm Story,' Halleroed constructed two-meter-high cuboid plinths using scarlet steel tubing. Elin Kling explained that the vibrant red tone was chosen for its elegance, contrasting effectively with Jansson's signature monochrome photography and offsetting the typically gloomy late summer Stockholm skies when the images were shot. This choice enhanced the industrial feel of the constructions while providing a visual pop. The campaign serves to emphasize Totême's distinct design cues and its deep connection to Stockholm. The article suggests that by showcasing elements of the city, from its scenic waterfront to its archipelago, Totême invites its audience to stylishly trace a route through the Swedish capital. This strategic use of local talent and a city-centric narrative aims to reinforce the brand's identity and its strong ties to its origins. #Fashion #Design #Stockholm #Toteme #Halleroed #MikaelJansson #Campaign #Collaboration #InstallationArt

The Kaufman House, a historical landmark in Zelienople, Pennsylvania, originally built in 1902, has undergone a significant restoration after being severely damaged by a fire in 2011. This 121-year-old building, which served as a hotel, factory worker housing, and an iconic tavern, was a vital rest stop for travelers and a community focal point. After the fire, the building remained closed until 2020, facing potential demolition. However, the Zelienople Borough recognized its cultural and economic importance, purchasing it in 2017 with a state Redevelopment Assistance Capital Grant to ensure its preservation. The restoration project aimed to maintain the building's original aesthetic, particularly concerning its windows. James Druschel, former vice president of finance and CFO of Veka, played a crucial role by initiating the project and facilitating the donation of window profiles from Veka Inc. Wincore Windows contributed by charging only for labor, glass, and hardware. The choice was made to use residential windows, specifically the 7700 Series from Veka, to replicate the original single-hung, wood windows. These included double-hung, fixed, and awning glass windows, with picture windows on the street level and double-hung windows on the upper floors. The 7700 Series is an LC-rated product, deemed suitable for the project. Technical specifications include white interior and exterior frames and low-e argon insulated glass with a 0.29 U-value, totaling 51 double-hungs, 30 fixed, and 3 awning windows. Beyond windows, the restoration also involved reinforcing the Main Street-facing balcony on the second floor with beams and updating it with VEKAdeck in Signature Storm color and white Veka rails, with the contractor receiving a reduced price for these materials. The rehabilitation proved more extensive than initially anticipated, as structural deficiencies were progressively discovered. Many previous repairs had overlooked structural integrity, leading to a situation where 60 percent of the building's structural integrity was found to be compromised and required replacement. The interior was gutted, re-walled, rewired, and re-plumbed, essentially rebuilt to meet modern codes. In its reimagined state, the Kaufman House now serves multiple purposes. The ground floor has been re-established as a restaurant, coffee shop, and bar. The second floor features a banquet hall, retail and office spaces, and meeting rooms. The third floor accommodates the regional office of a marketing firm. The basement is designed to host entrepreneurs offering complementary products to the restaurant. To ensure compliance with local codes, an elevator and a new stairwell were installed. Looking ahead, the building is also slated to function as a boutique hotel and a training facility for the tourism, culinary arts, and hospitality industries, further cementing its role as a revitalized community asset. #HistoricPreservation #BuildingRestoration #ArchitecturalDesign #WindowRenovation #KaufmanHouse #CommunityRevitalization #VekaWindows #WincoreWindows #ZelienoplePennsylvania

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

This article explores the growing acceptance and diverse applications of composite building materials in home design, highlighting their advantages over natural materials in terms of durability, low maintenance, and sustainability. These high-technology processed materials, while some have been in the market for decades, are now offering increased customization and sustainable solutions, driven by a post-pandemic shift towards home-centric living and a desire for convenient, long-lasting products. The article discusses wood-plastic composite (WPC) products, such as those offered by Everwood, which are primarily used for outdoor applications like facades, railings, and fins. WPC materials mimic the aesthetic of wood but offer superior weatherproofing and termite resistance, requiring minimal maintenance. Floor Sketch, a brand founded by Rajesh M. in 2019, has seen a resurgence in demand for pergolas and gazebos made from WPC, offering custom designs that can withstand harsh climates and come with material life warranties. The brand also uses Stone Polymer Composite (SPC), a limestone-based material for interlocking floors, which gained popularity before the pandemic due to its termite-proof and waterproof properties, enabling quick installations, such as an overnight floor replacement in a Chennai apartment. Floor Sketch emphasizes its green certifications for various indoor and outdoor products. Aluminium composite panels (ACP), in use for over 50 years, have seen increased demand in India, particularly with the growth of the IT sector. Brands like Eurobond, Alucobond, and Aludecor provide ACPs for architectural applications, allowing for extensive customization in color and design. Siddharth A. Shah of Eurobond notes the desire for unique building aesthetics, offering 380 designs and colors, with custom branding options for large orders. ACPs, originally developed for their long life, low maintenance, UV resistance, and fire safety in external curtain walls, are now widely used for fascia cladding. Eurobond has also introduced 32 new shades and offers a 100% recyclable ACP with an aluminum honeycomb structure, valued for its lightness, strength, and rigidity. The article also notes a trend of residential clients adopting ACPs for false ceilings, a use traditionally reserved for commercial buildings. The discussion then shifts to wood-alternative composites. Reliance's RelWood produces Natural Fiber Polymer Composite (NFPC) boards using patented German technology, offering a waterproof, low-maintenance, termite-proof, and recyclable alternative that can also be thermoformed for furniture. Indowud, founded by the Benganis after exiting the plywood industry, focuses on sustainable, 'zero wood' boards. After two years of research, they developed Indowud NFC (Natural Fibre Composite) by incorporating over 110 kg of agricultural husk for every 100 kg of resin, challenging standard WPC products that use less wood fiber. This high fiber content results in strong and durable boards, offering a sustainable, eco-friendly, and GreenPro certified alternative to plywood and MDF. Indowud NFC boards, available in different densities, are competitively priced with high-quality plywood and are suitable for wardrobes, kitchens, furniture, and exterior facades. Their complete resistance to termites, water, corrosion, decay, molding, and fungus, along with their ability to be thermoformed into non-standard curved elements, offers architects and designers significant flexibility for customized interior and exterior applications. #CompositeMaterials #SustainableBuilding #HomeRenovation #InteriorDesign #ExteriorCladding #WPCProducts #SPCFlooring #ACPPanels #ZeroWoodSolutions